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 Austria and from Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 Winnipeg and Milan.
I'm losing my edge to the art-school Winnipeg 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 1968 at the first Can practice in a loft in Cologne.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 Eli Mardock to the grunge kids.
I played it at the Crocodile.
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 Tomorrow tracks. I heard you have a vinyl of every The Birthday Party 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 '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Warsaw,
Slick Rick,
The Peanut Butter Conspiracy,
Bauhaus,
Skarface,
Stockholm Monsters,
Mandrill,
Avey Tare,
Talk Talk,
Crime,
The Searchers,
X-Ray Spex,
The Seeds,
Au Pairs,
Ludus,
Radio Birdman,
R.M.O.,
The Saints,
Cameo,
The Divine Comedy,
The Alarm Clocks,
Deakin,
Qualms,
Technova,
Hardrive,
The Chocolate Watch Band,
X-102,
The Detroit Cobras,
Andrew Hill,
Amon Düül,
Davy DMX,
Pierre Henry,
Scion,
Rakim,
Model 500,
Lizzy Mercier Descloux,
Accadde A,
Khruangbin,
The Leaves,
Michelle Simonal,
Massinfluence,
The Men They Couldn't Hang,
The Gap Band,
Sister Nancy,
Funky Four + One,
Maleditus Sound,
Delta 5,
Maurizio,
New Order,
The Offenders,
Orchestral Manoeuvres in the Dark,
Essential Logic,
Crispy Ambulance,
Ken Boothe,
Flamin' Groovies,
Warren Ellis,
Cal Tjader,
Mark Hollis,
Sixth Finger,
the Human League,
Neil Young, Neil Young, Neil Young, Neil Young.
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.