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 Mauritania and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Salvador and Manila.
I'm losing my edge to the art-school Milan 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 Slave to the grunge kids.
I played it at the Crocodile.
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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every The Index record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Cybotron record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
The Index,
Barbara Tucker,
The Tremeloes,
Tres Demented,
Bobby Hutcherson,
Pere Ubu,
Public Image Ltd.,
Jandek,
Bootsy's Rubber Band,
Strawberry Alarm Clock,
Minny Pops,
Blossom Toes,
Panda Bear,
Sandy B,
Brass Construction,
Half Japanese,
Cheater Slicks,
Orchestral Manoeuvres in the Dark,
Marine Girls,
Camouflage,
Excepter,
Franke,
Sad Lovers and Giants,
ABC,
Arthur Verocai,
Louis and Bebe Barron,
Los Fastidios,
Cluster,
The Busters,
Masters at Work,
Von Mondo,
Richard Hell and the Voidoids,
The Five Americans,
Wighnomy Brothers & Robag Wruhme,
ABBA,
Magazine,
New York Dolls,
China Crisis,
Japan,
The Monks,
Godley & Creme,
Robert Wyatt,
Skriet,
Bang on a Can All-Stars,
Captain Beefheart & His Magic Band,
Scan 7,
Spandau Ballet,
Newcleus,
The Buckinghams,
Mars,
Pharoah Sanders,
Hashim,
Drexciya,
Amon Düül,
The Monochrome Set,
Jeff Mills,
Gang Starr,
The Smiths,
Accadde A,
Suburban Knight,
Amon Düül II,
Spoonie Gee,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.