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 Laos and from Salvador.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1976.
I'm losing my edge.
To all the kids in Bologna and Madrid.
I'm losing my edge to the art-school Toronto 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the arpeggiator 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 Standells to the grunge kids.
I played it at the Hacienda.
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 Deadbeat. All the underground hits.
All Whodini tracks. I heard you have a vinyl of every John Foxx 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 mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Camouflage,
Eyeless In Gaza,
Grandmaster Flash and the Furious Five,
Bang on a Can All-Stars,
Slave,
John Foxx,
ABBA,
The Offenders,
Ronnie Foster,
Mandrill,
Piero Umiliani,
Can,
Joy Division,
Anakelly,
EPMD,
Fort Wilson Riot,
Rahsaan Roland Kirk,
Ituana,
Ultimate Spinach,
LL Cool J,
Manfred Mann's Earth Band,
Subhumans,
The Searchers,
the Fania All-Stars,
Angels of Light & Akron/Family,
Deepchord,
The Walker Brothers,
Fifty Foot Hose,
U.S. Maple,
Inner City,
Jerry's Kids,
The Doors,
The Star Department,
Andrew Ashong & Theo Parrish,
Bauhaus,
Wolf Eyes,
The Golliwogs,
Average White Band,
The Names,
Be Bop Deluxe,
F. McDonald,
Franke,
Swans,
The Saints,
Gang of Four,
London Community Gospel Choir,
Scion,
James White and The Blacks,
Drive Like Jehu,
Sight & Sound,
Delta 5,
Boz Scaggs,
Vainqueur,
E-Dancer,
Visage,
The Fall,
Main Source,
Gang Gang Dance,
cv313,
Basic Channel,
The Modern Lovers,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.