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 Greece and from Manila.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Columbus and Beijing.
I'm losing my edge to the art-school Accra 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the sitar 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 Japan to the jazz kids.
I played it at the Roxy.
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 A Flock of Seagulls. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every Urselle record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
Red Lorry Yellow Lorry,
Hasil Adkins,
The Mighty Diamonds,
Tears for Fears,
Dawn Penn,
Agitation Free,
Zapp,
The Zeros,
Alison Limerick,
The Misunderstood,
Second Layer,
Joyce Sims,
Black Sheep,
Drive Like Jehu,
The Walker Brothers,
These Immortal Souls,
The Neon Judgement,
Magazine,
The Victims,
Marc Romboy vs. Booka Shade,
Dual Sessions,
Andrew Hill,
Nico,
Todd Terry,
Morten Harket,
Camron Feat. Jay Z And Juelz,
The Offenders,
Robert Wyatt,
Khruangbin,
Icehouse,
Sun City Girls,
The Jesus and Mary Chain,
Gang Starr,
Eden Ahbez,
Mary Jane Girls,
The Divine Comedy,
Yellowson,
Jacob Miller,
Eurythmics,
Theoretical Girls,
Peter & Gordon,
Radiohead,
Sad Lovers and Giants,
Rhythm & Sound,
Index,
Swans,
Jerry's Kids,
The Toasters,
Public Enemy,
Dorothy Ashby,
Lee Hazlewood,
Severed Heads,
Tropical Tobacco,
Dark Day,
Funky Four + One,
Chris Corsano,
Soft Machine,
Man Parrish,
The J.B.'s,
Make Up, Make Up, Make Up, Make Up.
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.