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 Russia and from Salvador.
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 1979.
I'm losing my edge.
To all the kids in Manila and Woodstock.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the synthesizer 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 Jesper Dahlback to the jazz kids.
I played it at the Roxy.
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 Sällskapet. All the underground hits.
All New Order tracks. I heard you have a vinyl of every The Smiths 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
Young Marble Giants,
The Count Five,
Archie Shepp,
DeepChord presents Echospace,
Graham Central Station,
Lalo Schifrin,
Eurythmics,
Mandrill,
This Heat,
The Red Krayola,
Barbara Tucker,
The Tremeloes,
Rites of Spring,
Duran Duran,
Rekid,
Dorothy Ashby,
Ludus,
the Slits,
Jerry Gold Smith,
Dawn Penn,
Cameo,
Skaos,
Selector Dub Narcotic,
Arab on Radar,
James White and The Blacks,
The Grass Roots,
T. Rex,
Tears for Fears,
Soulsonic Force,
Lou Reed & Metallica,
Crime,
Kevin Saunderson,
Bill Wells,
Shoche,
Flash Fearless,
Mission of Burma,
Moby Grape,
Crash Course in Science,
Blossom Toes,
Babytalk,
Kings Of Tomorrow,
Zapp,
Technova,
Notorious Big And Bone Thugs,
The Smoke,
Roy Ayers,
These Immortal Souls,
Pylon,
Gastr Del Sol,
Janne Schatter,
Zero Boys,
Khruangbin,
Bush Tetras,
Lucky Dragons,
The Busters,
Scratch Acid,
DNA,
Schoolly D,
48th St. Collective,
Bad Manners,
Pussy Galore,
Procol Harum,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.