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 Singapore and from Halifax.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Toronto and Tehran.
I'm losing my edge to the art-school Mexico City 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the synthesizer 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 Hashim to the electroclash 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 Man Eating Sloth. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every Kauko Röyhkä ja Narttu 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a DJ Style record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Deutsch Amerikanische Freundschaft,
Morten Harket,
Bad Manners,
The Human League,
JFA,
The Martian,
DJ Style,
Bluetip,
Judy Mowatt,
DNA,
The Mojo Men,
The Shadows of Knight,
Yazoo,
The Cowsills,
Brass Construction,
Cecil Taylor,
The Cramps,
Davy DMX,
E-Dancer,
These Immortal Souls,
The Busters,
Blossom Toes,
Idris Muhammad,
The Slackers,
Alison Limerick,
Country Teasers,
Connie Case,
The Chocolate Watch Band,
Delon & Dalcan,
Louis and Bebe Barron,
Stereo Dub,
Siglo XX,
Skaos,
Oblivians,
Blancmange,
Second Layer,
Kool G Rap & DJ Polo,
Strawberry Alarm Clock,
Silicon Teens,
Johnny Clarke,
Lalo Schifrin,
The Smoke,
Kauko Röyhkä ja Narttu,
Josef K,
Mark Hollis,
Warsaw,
The Durutti Column,
Marc Almond,
Ajijia Myrayebe,
Mary Jane Girls,
Pussy Galore,
Boredoms,
Bob Dylan,
Electric Prunes,
Gang Gang Dance,
Surgeon,
The Saints,
Quadrant,
Manfred Mann's Earth Band,
The Sound,
Monolake,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.