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 Croatia and from Jakarta.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Tokyo.
I'm losing my edge to the art-school Toronto 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 1968 at the first Can practice in a loft in Cologne.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Slick Rick to the crunk kids.
I played it at Trash.
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 Byron Stingily. All the underground hits.
All Angry Samoans tracks. I heard you have a vinyl of every Lizzy Mercier Descloux record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
The Slits,
Tubeway Army,
Sam Rivers,
Faust,
Kango’s Stein Massive,
Bill Near,
Cluster,
The Dave Clark Five,
Eve St. Jones,
Toni Rubio,
Country Joe & The Fish,
Young Marble Giants,
Procol Harum,
Andrew Ashong & Theo Parrish,
The Neon Judgement,
Drexciya,
New Order,
Mars,
Ronan,
Public Image Ltd.,
Loose Ends,
Alton Ellis,
David McCallum,
Eric Copeland,
Harmonia,
Suburban Knight,
Ultimate Spinach,
Fort Wilson Riot,
Scientists,
Dead Boys,
Gil Scott-Heron and Jamie xx,
Flipper,
Lou Reed & Metallica,
The Move,
The Fire Engines,
Sun Ra,
D'Angelo,
Interpol,
Junior Murvin,
Moby Grape,
Bad Manners,
48th St. Collective,
The Mighty Diamonds,
Graham Central Station,
Neu!,
Sad Lovers and Giants,
Quantec,
Gerry Rafferty,
Spoonie Gee,
Derrick May,
Connie Case,
Shuggie Otis,
Morten Harket,
This Heat,
Malaria!,
Max Romeo,
Talk Talk,
10cc,
One Last Wish,
Second Layer, Second Layer, Second Layer, Second Layer.
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.