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 Zimbabwe and from Milan.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Toronto and Philadelphia.
I'm losing my edge to the art-school Taipei 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the sitar 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 The Slits to the rap kids.
I played it at the Crocodile.
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 Orchestral Manoeuvres in the Dark. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Suburban Knight record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Outsiders 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?
Charles Mingus,
Maurizio,
Howard Jones,
Deadbeat,
Massinfluence,
The Sonics,
Dawn Penn,
Mandrill,
Blancmange,
the Association,
Red Lorry Yellow Lorry,
Eurythmics,
cv313,
The Happenings,
Pete Rock & C.L. Smooth,
F. McDonald,
Manfred Mann's Earth Band,
The Red Krayola,
Avey Tare,
Fela Kuti,
James White and The Blacks,
John Lydon,
Thinking Fellers Union Local 282,
The West Coast Pop Art Experimental Band,
New York Dolls,
OOIOO,
The Slits,
Terry Callier,
JFA,
The Monochrome Set,
Stiv Bators,
Alison Limerick,
Kauko Röyhkä ja Narttu,
Fat Boys,
T.S.O.L.,
Young Marble Giants,
Thompson Twins,
Pagans,
The Walker Brothers,
Althea and Donna,
The Pop Group,
Bad Manners,
Rahsaan Roland Kirk,
Pulsallama,
Ornette Coleman,
The Cowsills,
Babytalk,
Robert Hood,
Neil Young & Crazy Horse,
La Düsseldorf,
Sexual Harrassment,
Glambeats Corp.,
Kool Moe Dee,
The Birthday Party,
A Certain Ratio,
Fear,
Duran Duran,
Scan 7,
Joensuu 1685,
Lalo Schifrin,
Donald Byrd,
The Human League, The Human League, The Human League, The Human League.
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.