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 Switzerland and from Columbus.
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 1961 to 1977.
I'm losing my edge.
To all the kids in London and Sao Paulo.
I'm losing my edge to the art-school Calgary 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 synthesizer 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 The Techniques to the dance 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 Thee Headcoats. All the underground hits.
All Das Ding tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
The Mummies,
The Motions,
Tomorrow,
Fat Boys,
Peter Gordon & Love of Life Orchestra,
Cluster,
CMW,
Dawn Penn,
Big Daddy Kane,
Urselle,
B.T. Express,
Gil Scott Heron,
Marcia Griffiths,
Roxette,
Negative Approach,
Sam Rivers,
The Durutti Column,
Procol Harum,
Can,
Technova,
kango's stein massive,
June Days,
Ronnie Foster,
Agent Orange,
John Lydon,
Lightning Bolt,
Idris Muhammad,
In Retrospect,
Ludus,
Sun Ra,
Bill Wells,
Pantaleimon,
Soulsonic Force,
Blancmange,
Hasil Adkins,
Wasted Youth,
The Sisters of Mercy,
Lee Hazlewood,
Maurizio,
Sun Ra Arkestra,
The Beau Brummels,
Bronski Beat,
Zapp,
Lyres,
Cameo,
Tim Buckley,
Rhythm & Sound,
L. Decosne,
The Vogues,
The Toasters,
Gang of Four,
The Velvet Underground,
Kayak,
Isaac Hayes,
Warren Ellis,
Dark Day,
Kango’s Stein Massive,
Cecil Taylor,
Marine Girls, Marine Girls, Marine Girls, Marine Girls.
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.