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 Manila.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Woodstock and Glasgow.
I'm losing my edge to the art-school Tokyo 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 1973 at the first Television practice in a loft in New York.
I was working on the harpsichord 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 Blancmange to the jazz kids.
I played it at Cafe Wha.
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 Intrusion. All the underground hits.
All Gastr Del Sol tracks. I heard you have a vinyl of every Cluster 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Cave & The Bad Seeds,
Public Enemy,
Cluster,
Porter Ricks,
Minnie Riperton,
Mary Jane Girls,
Ponytail,
Bill Wells,
Stereo Dub,
Skarface,
The Motions,
Funkadelic,
Graham Central Station,
Supertramp,
Stetsasonic,
Kool Moe Dee,
the Slits,
The Slits,
Mo-Dettes,
Lalann,
Bronski Beat,
Spandau Ballet,
Lakeside,
Gil Scott Heron,
AZ,
Marmalade,
Bob Dylan,
Cymande,
Bizarre Inc.,
Swans,
The Residents,
Art Ensemble Of Chicago,
John Holt,
Kango’s Stein Massive,
The Tremeloes,
Gichy Dan,
Morten Harket,
Jandek,
Thompson Twins,
Black Pus,
Aural Exciters,
The Human League,
Nick Fraelich,
Animal Collective,
Pharoah Sanders,
The Misunderstood,
The Fire Engines,
Hardrive,
Kas Product,
Robert Hood,
K-Klass,
8 Eyed Spy,
Parry Music,
Robert Wyatt,
Magazine,
Deadbeat,
Robert Görl,
The Last Poets,
Scott Walker + Sunn O))),
Freddie Wadling,
The Star Department, The Star Department, The Star Department, The Star Department.
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.