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 Egypt and from Paris.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1970.
I'm losing my edge.
To all the kids in Tokyo and Madrid.
I'm losing my edge to the art-school New York 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 Josef K practice in a loft in Edinburgh.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Mission of Burma to the rock kids.
I played it at the Astoria.
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 Saints. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
The Star Department,
The Mojo Men,
Gary Puckett & The Union Gap,
David Axelrod,
Sarah Menescal,
Ludus,
Tommy Roe,
Lou Reed & John Cale,
The Misunderstood,
Marine Girls,
Isaac Hayes,
The Angels of Light,
Neil Young & Crazy Horse,
The Modern Lovers,
Massinfluence,
8 Eyed Spy,
Jesper Dahlback,
Davy DMX,
Godley & Creme,
Fad Gadget,
This Heat,
Con Funk Shun,
The Black Dice,
Deutsch Amerikanische Freundschaft,
Blancmange,
James White and The Blacks,
Siouxsie and the Banshees,
Arthur Verocai,
Half Japanese,
Louis and Bebe Barron,
Beasts of Bourbon,
Monks,
Teenage Jesus and the Jerks,
Danielle Patucci,
Infiniti,
Bad Manners,
Index,
Chris Corsano,
Chrome,
Joe Smooth,
The Five Americans,
Stetsasonic,
John Coltrane,
The Velvet Underground,
Heavy D & The Boyz,
the Sonics,
Steve Hackett,
Art Ensemble Of Chicago,
Jesper Dahlbäck,
Nirvana,
The Cramps,
The Smiths,
The Cosmic Jokers,
The Monochrome Set,
Barrington Levy,
Fear,
Pulsallama,
Amon Düül,
Traffic Nightmare,
Ossler,
A Certain Ratio,
The Chocolate Watch Band,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.