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 Liechtenstein and from Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1974.
I'm losing my edge.
To all the kids in Bremen and Lyon.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Chris & Cosey to the grunge kids.
I played it at the 40 Watt.
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 Electric Light Orchestra. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Lee Hazlewood 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 '80s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Dorothy Ashby,
Ronan,
Delon & Dalcan,
June Days,
Fatback Band,
Symarip,
Tom Boy,
Wolf Eyes,
Ajijia Myrayebe,
AZ,
Alton Ellis,
Rod Modell,
Albert Ayler,
Boredoms,
Ossler,
Röyhkä ja Rättö ja Lehtisalo,
Alice Coltrane,
A Certain Ratio,
Shuggie Otis,
New York Dolls,
Thinking Fellers Union Local 282,
The Gladiators,
Roger Hodgson,
Ken Boothe,
Cymande,
Sunsets and Hearts,
The Associates,
DNA,
X-101,
Country Joe & The Fish,
Donny Hathaway,
Thompson Twins,
Derrick Morgan,
Stereo Dub,
Masters at Work,
Crash Course in Science,
Chris Corsano,
Matthew Halsall,
Richard Hell and the Voidoids,
Ten City,
Vladislav Delay,
Barbara Tucker,
Marc Almond,
Toni Rubio,
Scratch Acid,
Charles Mingus,
Lightning Bolt,
David McCallum,
The Seeds,
The Selecter,
The Mojo Men,
Howard Jones,
Bootsy's Rubber Band,
Eve St. Jones,
Manfred Mann's Earth Band,
Crime,
Jesper Dahlbäck,
Spoonie Gee,
Amon Düül II,
Warren Ellis,
Judy Mowatt,
Joy Division,
Mark Hollis,
Minor Threat, Minor Threat, Minor Threat, Minor Threat.
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.