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 Guinea-Bissau and from London.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1976.
I'm losing my edge.
To all the kids in New York and Bremen.
I'm losing my edge to the art-school Lagos 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 rhodes sounds with much patience.
I was there when Nile Rodgers 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 Depeche Mode to the techno kids.
I played it at the Spitz.
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 Ornette Coleman. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every Interpol record on German import.
I heard that you have a white label of every seminal grime 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 an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
Pantaleimon,
Godley & Creme,
Connie Case,
Nik Kershaw,
Monolake,
Bobby Womack,
John Foxx,
Laurel Aitken,
Can,
Rosa Yemen,
Hoover,
The Jesus and Mary Chain,
Amazonics,
New Age Steppers,
The Velvet Underground,
Shoche,
Bang On A Can,
Beasts of Bourbon,
Model 500,
Das Ding,
DJ Sneak,
the Germs,
New Order,
Josef K,
Grauzone,
Traffic Nightmare,
Khruangbin,
Grandmaster Flash and the Furious Five,
Oppenheimer Analysis,
Drexciya,
Joe Smooth,
Roxette,
Jacob Miller,
Avey Tare,
Sällskapet,
Little Man,
Slick Rick,
Lightning Bolt,
Deutsch Amerikanische Freundschaft,
Althea and Donna,
Anakelly,
Andrew Ashong & Theo Parrish,
Pulsallama,
Anthony Braxton,
Severed Heads,
L. Decosne,
The Buckinghams,
Scan 7,
Wolf Eyes,
Index,
Janne Schatter,
Outsiders,
Idris Muhammad,
Talk Talk,
The Music Machine,
Jacques Brel,
Ronan,
Ossler,
Neu!,
Grey Daturas,
Underground Resistance,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.