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 Mexico and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Calgary and Spokane.
I'm losing my edge to the art-school Bologna 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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Holger Czukay 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 John Coltrane to the punk kids.
I played it at CBGB's.
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 Chris & Cosey. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every H. Thieme record on German import.
I heard that you have a white label of every seminal rock 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 guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Spandau Ballet,
Sad Lovers and Giants,
Deakin,
Symarip,
Nik Kershaw,
Rakim,
10cc,
Selector Dub Narcotic,
Bush Tetras,
The Count Five,
Dawn Penn,
Jeff Mills,
Boz Scaggs,
The Doors,
Roxette,
Ice-T,
Ajijia Myrayebe,
Gerry Rafferty,
Eyeless In Gaza,
Alison Limerick,
Gabor Szabo,
David Axelrod,
Marmalade,
The Names,
U.S. Maple,
Rites of Spring,
Albert Ayler,
Bob Dylan,
Don Cherry,
a-ha,
Minor Threat,
Siglo XX,
Guru Guru,
The Invisible,
Yellowson,
AZ,
Black Flag,
48th St. Collective,
Hashim,
Dr. Dre and Snoop Doggy Dog,
Scrapy,
The Angels of Light,
Radio Birdman,
Bang On A Can,
X-102,
Barbara Tucker,
D'Angelo,
Boogie Down Productions,
Au Pairs,
David McCallum,
Red Lorry Yellow Lorry,
Drexciya,
Patti Smith,
Ossler,
Index,
Gastr Del Sol,
Rotary Connection,
Notorious BIG live in Amsterdam,
The Cramps,
The Fugs,
Whodini,
the Normal, the Normal, the Normal, the Normal.
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.