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 Luxembourg and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Accra and Mumbai.
I'm losing my edge to the art-school Portland 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 Slits to the punk kids.
I played it at the Hacienda.
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 Art Ensemble Of Chicago. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every Todd Rundgren 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Divine Comedy record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
The Divine Comedy,
Electric Prunes,
The Jesus and Mary Chain,
The Leaves,
Liaisons Dangereuses,
Minny Pops,
This Heat,
Gabor Szabo,
Adolescents,
Black Sheep,
Sister Nancy,
Connie Case,
Arcadia,
The Techniques,
Cameo,
Drexciya,
Röyhkä ja Rättö ja Lehtisalo,
Lower 48,
Harry Pussy,
a-ha,
DNA,
Eric Copeland,
Symarip,
Circle Jerks,
The Remains,
Malaria!,
June Days,
China Crisis,
The Blues Magoos,
Tommy Roe,
Gary Puckett & The Union Gap,
Sad Lovers and Giants,
Rakim,
Aloha Tigers,
LL Cool J,
Danielle Patucci,
Cabaret Voltaire,
L. Decosne,
Kayak,
Average White Band,
The Fugs,
The Motions,
Man Parrish,
Susan Cadogan,
The Moody Blues,
James White and The Blacks,
The Sonics,
Rotary Connection,
Swell Maps,
Siouxsie and the Banshees,
Eddi Front,
the Swans,
Flash Fearless,
Sugar Minott,
Country Joe & The Fish,
Rhythm & Sound,
Archie Shepp,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.