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 Japan and from Stockholm.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Tehran and London.
I'm losing my edge to the art-school Copenhagen 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the sitar sounds with much patience.
I was there when Nile Rodgers 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 Normal to the rock 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 The Fall. All the underground hits.
All The Red Krayola tracks. I heard you have a vinyl of every Eurythmics record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Crooked Eye record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
Heaven 17,
Justin Hinds & The Dominoes,
Henry Cow,
Sonny Sharrock,
Masters at Work,
Ken Boothe,
Ultra Naté,
Quantec,
Funkadelic,
MDC,
The Young Rascals,
Beasts of Bourbon,
Suicide,
Royal Trux,
Wings,
Make Up,
The Fuzztones,
Rites of Spring,
Bang On A Can,
the Human League,
UT,
Drive Like Jehu,
Banda Bassotti,
It's A Beautiful Day,
The Electric Prunes,
Q and Not U,
48th St. Collective,
Boz Scaggs,
Ronan,
James White and The Blacks,
Isaac Hayes,
Jimmy McGriff,
Depeche Mode,
Pere Ubu,
Davy DMX,
Harpers Bizarre,
Jerry's Kids,
Dave Gahan,
Tears for Fears,
Eyeless In Gaza,
Bronski Beat,
Oppenheimer Analysis,
ABBA,
Rufus Thomas,
Selector Dub Narcotic,
Rhythm & Sound,
Marmalade,
Drexciya,
Sad Lovers and Giants,
Maleditus Sound,
Lakeside,
The Dave Clark Five,
Hashim,
Fort Wilson Riot,
Electric Light Orchestra,
Fat Boys,
The Men They Couldn't Hang,
Loose Ends,
Matthew Halsall,
Jesper Dahlback,
Essential Logic,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.