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 Barbados and from Madrid.
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 1962 to 1971.
I'm losing my edge.
To all the kids in New York and New York.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the linndrum 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 Cluster to the electroclash kids.
I played it at the 40 Watt.
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 Cal Tjader. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Interpol 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 '70s cut and another box set from the '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tubeway Army,
Franke,
Young Marble Giants,
Ronnie Foster,
Teenage Jesus and the Jerks,
The Monochrome Set,
The Blues Magoos,
Althea and Donna,
Marvin Gaye,
Eli Mardock,
Panda Bear,
Lee Hazlewood,
Beasts of Bourbon,
Peter & Gordon,
Blancmange,
Piero Umiliani,
Thompson Twins,
Severed Heads,
Sarah Menescal,
Derrick Morgan,
A Flock of Seagulls,
The Techniques,
The Martian,
Art Ensemble Of Chicago,
Echospace,
Pantytec,
Average White Band,
Amazonics,
the Swans,
The Gap Band,
Quadrant,
The Red Krayola,
Motorama,
Rahsaan Roland Kirk,
Orchestral Manoeuvres in the Dark,
Black Sheep,
Jeff Mills,
The Human League,
Sticky Fingaz feat. Raekwon,
Can,
Gabor Szabo,
The United States of America,
Intrusion,
L. Decosne,
Eric B and Rakim,
Ultramagnetic MC's,
Be Bop Deluxe,
Infiniti,
Masters at Work,
Reuben Wilson,
Sunsets and Hearts,
Newcleus,
X-Ray Spex,
Technova,
Porter Ricks,
Jacques Brel,
Mandrill,
Rowland S Howard / Lydia Lunch,
The Fuzztones,
Urselle,
The Motions,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.