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 Vanuatu and from Houston.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Toronto.
I'm losing my edge to the art-school Seoul 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 Buzzcocks practice in a loft in Bolton.
I was working on the guitar 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 48th St. Collective to the techno kids.
I played it at the Hacienda.
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 Kings Of Tomorrow. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Neil Young 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 '80s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Bootsy Collins,
Red Lorry Yellow Lorry,
Dorothy Ashby,
Agent Orange,
Make Up,
Second Layer,
Nation of Ulysses,
Unwound,
Jawbox,
Lucky Dragons,
Deepchord,
Larry & the Blue Notes,
The Angels of Light,
Swell Maps,
Crooked Eye,
Jimmy McGriff,
Essential Logic,
Section 25,
Animal Collective,
Lebanon Hanover,
Eric Copeland,
Scrapy,
The Birthday Party,
The Human League,
New Age Steppers,
Silicon Teens,
Robert Görl,
Mars,
Los Fastidios,
Kango’s Stein Massive,
Josef K,
Schoolly D,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Thompson Twins,
Ronan,
Bobby Hutcherson,
Lalo Schifrin,
Soul II Soul,
Bobby Womack,
The J.B.'s,
Interpol,
Juan Atkins,
Bad Manners,
Kauko Röyhkä ja Narttu,
DNA,
Jesper Dahlback,
Lafayette Afro Rock Band,
Easy Going,
Marc Romboy vs. Booka Shade,
Visage,
Sam Rivers,
Notorious Big And Bone Thugs,
Mary Jane Girls,
Fat Boys,
The Peanut Butter Conspiracy,
Roger Hodgson,
Major Organ And The Adding Machine,
Flipper,
The Toasters, The Toasters, The Toasters, The Toasters.
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.