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 Iceland and from Philadelphia.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Lyon and Manchester.
I'm losing my edge to the art-school Lille 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 1983 at the first Lewis practice in a loft in Vancouver.
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 The Sisters of Mercy 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 Sugar Minott. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every Panda Bear 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
Q and Not U,
Ronnie Foster,
Mark Hollis,
Oppenheimer Analysis,
Richard Hell and the Voidoids,
Cal Tjader,
Lucky Dragons,
Camouflage,
ABC,
Roxette,
Kevin Saunderson,
Khruangbin,
Interpol,
Nico,
Oneida,
Fear,
FM Einheit,
Suburban Knight,
JFA,
Suicide,
Orchestral Manoeuvres in the Dark,
Sly & The Family Stone,
The Techniques,
Shoche,
Joensuu 1685,
The Happenings,
Eyeless In Gaza,
8 Eyed Spy,
Bizarre Inc.,
Radiopuhelimet,
Desert Stars,
The Walker Brothers,
Eric B and Rakim,
Black Moon,
The Victims,
Nik Kershaw,
Gang of Four,
X-102,
Qualms,
Franke,
The Last Poets,
Visage,
Ajijia Myrayebe,
Sixth Finger,
Kerrie Biddell,
Half Japanese,
Brothers Johnson,
Throbbing Gristle,
Soul Sonic Force,
The Electric Prunes,
MDC,
Cecil Taylor,
Wire,
Sister Nancy,
Heaven 17,
The Cure,
A Certain Ratio,
Marcia Griffiths,
the Germs,
Fluxion,
The Stooges,
Loose Ends,
Tim Buckley,
Rakim,
Cameo, Cameo, Cameo, Cameo.
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.