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 Morocco and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1966 to 1970.
I'm losing my edge.
To all the kids in New York and Houston.
I'm losing my edge to the art-school Milan 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 The Invisible to the rock kids.
I played it at Trash.
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 Marmalade. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
The Victims,
Boogie Down Productions,
Boredoms,
Half Japanese,
Gil Scott Heron,
Lindisfarne,
Oblivians,
Rapeman,
Big Daddy Kane,
Malaria!,
Man Eating Sloth,
Matthew Halsall,
New Age Steppers,
Radio Birdman,
Eric Copeland,
Lalo Schifrin,
Audionom,
Flash Fearless,
David Bowie,
DeepChord presents Echospace,
Stockholm Monsters,
Kaleidoscope,
Brick,
Aaron Thompson,
Terror Squad Feat. Camron,
X-Ray Spex,
Grandmaster Flash and the Furious Five,
Mandrill,
Spandau Ballet,
Kas Product,
Yellowson,
Thompson Twins,
Chris Corsano,
Al Stewart,
T.S.O.L.,
Wire,
Nico,
Sticky Fingaz feat. Raekwon,
Symarip,
Skaos,
Arab on Radar,
The Dead C,
Flamin' Groovies,
UT,
June of 44,
The Jesus and Mary Chain,
The Doors,
Throbbing Gristle,
Bobby Womack,
The Litter,
Fear,
Japan,
Ponytail,
Amazonics,
Zero Boys,
Quadrant,
Tropical Tobacco,
Liliput, Liliput, Liliput, Liliput.
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.