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 Vanuatu and from Calgary.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Copenhagen.
I'm losing my edge to the art-school Manila 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 Bobbi Humphrey to the techno kids.
I played it at Trash.
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 Terrestrial Tones. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lou Christie record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
the Human League,
The Peanut Butter Conspiracy,
Crooked Eye,
The Detroit Cobras,
Theoretical Girls,
Neil Young,
Ultimate Spinach,
Eve St. Jones,
Jacques Brel,
Blake Baxter,
Make Up,
Kool G Rap & DJ Polo,
the Sonics,
Rhythim Is Rhythim,
Hashim,
Dave Gahan,
Popol Vuh,
Bronski Beat,
Procol Harum,
Pussy Galore,
The Walker Brothers,
The Offenders,
Peter and Kerry,
Lou Christie,
Orchestral Manoeuvres in the Dark,
Lebanon Hanover,
Vladislav Delay,
Mr. Review,
Heavy D & The Boyz,
Oneida,
Essential Logic,
Joe Smooth,
The Human League,
Oblivians,
The Index,
John Lydon,
Mad Mike,
Camouflage,
Fort Wilson Riot,
Franke,
Rowland S Howard / Lydia Lunch,
Sun Ra,
Vainqueur,
Aural Exciters,
Godley & Creme,
Grandmaster Flash and the Furious Five,
Average White Band,
Subhumans,
Pole,
Andrew Ashong & Theo Parrish,
Rapeman,
The Raincoats,
The Durutti Column,
Sad Lovers and Giants,
Jacob Miller,
Thinking Fellers Union Local 282,
The Mojo Men,
Boogie Down Productions,
Kevin Saunderson,
Josef K,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.