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 Panama and from Spokane.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1971.
I'm losing my edge.
To all the kids in Woodstock and Winnipeg.
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 Mistral practice in a loft in Amsterdam.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 Röyhkä ja Rättö ja Lehtisalo to the funk 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 Drive Like Jehu. All the underground hits.
All Desert Stars tracks. I heard you have a vinyl of every Morten Harket record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
Jeru the Damaja,
Unwound,
Masters at Work,
Motorama,
Pet Shop Boys,
Colin Newman,
Sonic Youth,
H. Thieme,
Liaisons Dangereuses,
The Chocolate Watch Band,
Traffic Nightmare,
the Soft Cell,
The Names,
Zero Boys,
The Saints,
Reuben Wilson,
Ultravox,
Morten Harket,
Bob Dylan,
Thompson Twins,
Lou Reed,
Tropical Tobacco,
Lindisfarne,
AZ,
Joey Negro,
Neu!,
Stereo Dub,
Gary Puckett & The Union Gap,
8 Eyed Spy,
Q and Not U,
Cluster,
Outsiders,
The Mojo Men,
X-Ray Spex,
Pere Ubu,
The Walker Brothers,
Rufus Thomas,
Joe Smooth,
Talk Talk,
Parry Music,
Orchestral Manoeuvres in the Dark,
Johnny Osbourne,
Technova,
Negative Approach,
Pantaleimon,
Harmonia,
Lafayette Afro Rock Band,
Royal Trux,
Wings,
Banda Bassotti,
Funkadelic,
Don Cherry,
Sällskapet,
Bad Manners,
Graham Central Station,
London Community Gospel Choir,
Fela Kuti,
The Velvet Underground,
Shoche,
Brick,
Soul II Soul,
Chris & Cosey,
Country Joe & The Fish,
Moby Grape, Moby Grape, Moby Grape, Moby Grape.
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.