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 Kyrgyzstan and from Lyon.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Tokyo.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Selecter to the grime kids.
I played it at the Astoria.
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 Ossler. All the underground hits.
All Dark Day tracks. I heard you have a vinyl of every Peter and Kerry 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 '90s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your 808 and bought an oboe.
I hear that you and your band have sold your oboe and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Arthur Verocai,
The Cure,
Matthew Bourne,
Roxette,
Justin Hinds & The Dominoes,
Jacques Brel,
Monolake,
Marcia Griffiths,
Babytalk,
Stockholm Monsters,
John Lydon,
Ultravox,
Mr. Review,
London Community Gospel Choir,
Cabaret Voltaire,
La Düsseldorf,
Laurel Aitken,
Stiv Bators,
Groovy Waters,
The Fire Engines,
Cybotron,
The Modern Lovers,
Rosa Yemen,
Lafayette Afro Rock Band,
R.M.O.,
Intrusion,
Henry Cow,
Tom Boy,
Deadbeat,
Rufus Thomas,
John Coltrane,
The Beau Brummels,
K-Klass,
The New Christs,
Kenny Larkin,
Gil Scott Heron,
The Mummies,
Bang On A Can,
The Trojans,
The Leaves,
Jacob Miller,
Rekid,
Model 500,
Camberwell Now,
Johnny Clarke,
Marc Almond,
The Birthday Party,
The American Breed,
Moss Icon,
Angry Samoans,
Jerry's Kids,
The Residents,
Rites of Spring,
Scott Walker + Sunn O))),
Das Ding,
Teenage Jesus and the Jerks,
Sandy B,
Brass Construction,
Masters at Work,
Ornette Coleman,
Alphaville,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.