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 Zambia and from Tehran.
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 1970.
I'm losing my edge.
To all the kids in Lille and Glasgow.
I'm losing my edge to the art-school Accra 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 1978 at the first Visage practice in a loft in London.
I was working on the synthesizer 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 Soft Cell to the electroclash 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 Jeff Lynne. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Jeff Mills 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 '70s cut and another box set from the '80s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Todd Rundgren record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Captain Beefheart & His Magic Band,
Ash Ra Tempel,
Spandau Ballet,
H. Thieme,
Talk Talk,
The Count Five,
Kaleidoscope,
The Index,
Avey Tare's Slasher Flicks,
Amon Düül II,
Janne Schatter,
Avey Tare & Kría Brekkan,
Marmalade,
Be Bop Deluxe,
Nirvana,
Gastr Del Sol,
Eli Mardock,
Boredoms,
The Happenings,
Faraquet,
The Dead C,
James Chance & The Contortions,
Soul Sonic Force,
New York Dolls,
Swans,
Gerry Rafferty,
Jesper Dahlback,
The Seeds,
Hashim,
Man Parrish,
Scion,
Gil Scott-Heron and Jamie xx,
Khruangbin,
Lightning Bolt,
CMW,
Clear Light,
Donald Byrd,
Suicide,
Aaron Thompson,
Juan Atkins,
Quadrant,
Bobby Womack,
This Heat,
Electric Prunes,
Pere Ubu,
The Moody Blues,
Shuggie Otis,
The Kinks,
Idris Muhammad,
Mantronix,
Sight & Sound,
Amon Düül,
Throbbing Gristle,
Robert Hood,
Gil Scott Heron,
The Slackers,
Joyce Sims,
Notorious Big And Bone Thugs,
Crispian St. Peters,
Deakin,
The Sound, The Sound, The Sound, The Sound.
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.