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 Nepal and from Lille.
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 1970.
I'm losing my edge.
To all the kids in Houston and Stockholm.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Amazonics to the grunge kids.
I played it at the Spitz.
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 Beasts of Bourbon. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Bronski Beat 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your snare and bought a 808.
I hear that you and your band have sold your 808 and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Dead Boys,
Hot Snakes,
New York Dolls,
Patti Smith,
Grauzone,
The Litter,
Soft Machine,
Neu!,
The West Coast Pop Art Experimental Band,
Art Ensemble Of Chicago,
Roy Ayers Ubiquity,
The Birthday Party,
Sam Rivers,
Sex Pistols,
Vainqueur,
The Associates,
The Stooges,
Shoche,
Camberwell Now,
Symarip,
ABC,
Circle Jerks,
Leonard Cohen,
In Retrospect,
Nation of Ulysses,
Sarah Menescal,
Bill Wells,
Mission of Burma,
Bang On A Can,
The New Christs,
Sunsets and Hearts,
Pete Rock & C.L. Smooth,
Avey Tare & Kría Brekkan,
Max Romeo,
Delon & Dalcan,
Ultimate Spinach,
Kings Of Tomorrow,
Lindisfarne,
The Dave Clark Five,
Deakin,
Dennis Brown,
Funky Four + One,
Lungfish,
The Names,
It's A Beautiful Day,
Rahsaan Roland Kirk,
The Fortunes,
Lafayette Afro Rock Band,
Pole,
Bizarre Inc.,
Ken Boothe,
Frankie Knuckles,
Lalo Schifrin,
Silicon Teens,
The Chocolate Watch Band,
Liaisons Dangereuses,
The Blackbyrds,
Flamin' Groovies,
Howard Jones,
The Fall, The Fall, The Fall, The Fall.
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.