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 El Salvador and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Bologna and Bologna.
I'm losing my edge to the art-school London 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 China Crisis to the dance 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 The Star Department. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Lindisfarne 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 '80s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a the Fania All-Stars record.
I hear that you and your band have sold your snare and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
Bang On A Can,
Orchestral Manoeuvres in the Dark,
The Pretty Things,
Aural Exciters,
Wighnomy Brothers & Robag Wruhme,
Davy DMX,
Liliput,
Brick,
Liaisons Dangereuses,
Porter Ricks,
Cabaret Voltaire,
Talk Talk,
Negative Approach,
Marine Girls,
The Jesus and Mary Chain,
The Motions,
Organ,
The Martian,
Subhumans,
Section 25,
Theoretical Girls,
Rapeman,
Qualms,
Schoolly D,
Fad Gadget,
Vainqueur,
The J.B.'s,
Rekid,
DeepChord presents Echospace,
Absolute Body Control,
Man Parrish,
Joey Negro,
The Remains,
Camberwell Now,
The Saints,
Terry Callier,
10cc,
The Music Machine,
The Victims,
Q and Not U,
Jerry's Kids,
Crooked Eye,
Ultimate Spinach,
Interpol,
The Sound,
Jacques Brel,
Deakin,
Con Funk Shun,
Blake Baxter,
Little Man,
Angels of Light & Akron/Family,
the Germs,
Bobby Womack,
Soft Machine,
The Sonics,
Intrusion,
Barry Ungar,
Average White Band,
Hoover,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.