Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from New Zealand and from Copenhagen.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1967 to 1975.
I'm losing my edge.
To all the kids in Lille and Halifax.
I'm losing my edge to the art-school Mexico City kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Wire practice in a loft in Watford.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Orchestral Manoeuvres in the Dark to the crunk kids.
I played it at the 40 Watt.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Jesper Dahlbäck. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Accadde A record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Robert Hood,
Swans,
Wings,
John Foxx,
Pantaleimon,
Excepter,
Terror Squad Feat. Camron,
Rosa Yemen,
the Sonics,
Sonic Youth,
Scratch Acid,
Carl Craig,
Maleditus Sound,
Boredoms,
New Age Steppers,
Sad Lovers and Giants,
The Monochrome Set,
Thompson Twins,
Sight & Sound,
Unrelated Segments,
Mary Jane Girls,
Masters at Work,
Oblivians,
Freddie Wadling,
MC5,
Trumans Water,
Eric Dolphy,
Warren Ellis,
Moebius,
The Names,
Rufus Thomas,
Röyhkä ja Rättö ja Lehtisalo,
The Jesus and Mary Chain,
The Smiths,
Q65,
Byron Stingily,
Bang On A Can,
Big Daddy Kane,
The Sound,
David Axelrod,
Janne Schatter,
James Chance & The Contortions,
Heavy D & The Boyz,
Siglo XX,
Make Up,
Ten City,
Ronnie Foster,
Jacques Brel,
Archie Shepp,
Bill Near,
Das Ding,
Rod Modell,
Mad Mike,
Notorious BIG live in Amsterdam,
Gil Scott Heron,
Quantec,
Bush Tetras,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.