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 Swaziland and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1974.
I'm losing my edge.
To all the kids in Madrid and Woodstock.
I'm losing my edge to the art-school Cairo 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 The Barracudas to the techno kids.
I played it at the Troubador.
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 E-Dancer. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal grunge 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 sitar and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
Simply Red,
Angry Samoans,
Deutsch Amerikanische Freundschaft,
T.S.O.L.,
Rapeman,
Grandmaster Flash and the Furious Five,
The Gories,
Nas,
Josef K,
Davy DMX,
The Five Americans,
Sonny Sharrock,
Interpol,
Masters at Work,
Pharaoh Sanders and the Fire Engines,
The Doors,
Audionom,
Frankie Knuckles,
Tears for Fears,
The New Christs,
Liliput,
Unwound,
Wally Richardson,
UT,
The Seeds,
Orchestral Manoeuvres in the Dark,
The Techniques,
the Fania All-Stars,
the Association,
The Mojo Men,
Sarah Menescal,
Adolescents,
Neu!,
Bill Near,
Circle Jerks,
Can,
Gabor Szabo,
Tim Buckley,
Robert Görl,
Pole,
Kevin Saunderson,
Todd Rundgren,
Animal Collective,
The Toasters,
The Fugs,
The Zeros,
the Bar-Kays,
Kas Product,
Drexciya,
David McCallum,
Bush Tetras,
EPMD,
The Jesus and Mary Chain,
Ossler,
The Young Rascals,
Amon Düül,
Letta Mbulu,
Stereo Dub,
Reagan Youth,
Lalann,
Lungfish,
Angels of Light & Akron/Family,
Ash Ra Tempel,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.