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 Turkey and from Delhi.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Milan and Lagos.
I'm losing my edge to the art-school Milan 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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 Cameo to the techno kids.
I played it at the Troubador.
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 Ultravox. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every Suicide record on German import.
I heard that you have a white label of every seminal punk 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 an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
Liaisons Dangereuses,
Pylon,
the Swans,
The West Coast Pop Art Experimental Band,
the Human League,
Hasil Adkins,
Wire,
Glenn Branca,
Matthew Halsall,
Bobby Hutcherson,
Bobby Sherman,
Bang on a Can All-Stars,
Juan Atkins,
Blake Baxter,
Jeff Lynne,
Faust,
Oblivians,
U.S. Maple,
Radio Birdman,
Make Up,
Skaos,
The Wake,
China Crisis,
Sixth Finger,
Masters at Work,
Kevin Saunderson,
OOIOO,
The Stooges,
EPMD,
Roy Ayers Ubiquity,
the Fania All-Stars,
The Kinks,
Bronski Beat,
Grauzone,
Flamin' Groovies,
Mo-Dettes,
Vainqueur,
Pete Rock & C.L. Smooth,
Dawn Penn,
Bad Manners,
The Young Rascals,
Arthur Verocai,
Sun City Girls,
Susan Cadogan,
Andrew Hill,
Lungfish,
H. Thieme,
Ultra Naté,
Fifty Foot Hose,
Scan 7,
Rhythm & Sound,
The Motions,
Electric Prunes,
Sandy B,
Main Source,
Connie Case,
Lyres,
The New Christs,
Cecil Taylor,
Fad Gadget,
Absolute Body Control,
The Angels of Light,
Scott Walker,
Bang On A Can, Bang On A Can, Bang On A Can, Bang On A Can.
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.