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 Korea North and from Philadelphia.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Lagos and Sao Paulo.
I'm losing my edge to the art-school Bologna 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 synthesizer 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 Parry Music to the techno kids.
I played it at the Troubador.
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 Lou Reed & Metallica. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every The Zeros record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
John Coltrane,
Leonard Cohen,
Public Enemy,
Essential Logic,
Mars,
Sällskapet,
Albert Ayler,
The Walker Brothers,
Soft Cell,
Japan,
Harmonia,
Accadde A,
Smog,
Ultramagnetic MC's,
Con Funk Shun,
Bauhaus,
Guru Guru,
Magazine,
The Grass Roots,
FM Einheit,
Monks,
Terry Callier,
Sugar Minott,
Slick Rick,
John Lydon,
Second Layer,
Neil Young & Crazy Horse,
The Jesus and Mary Chain,
Man Eating Sloth,
Ronnie Foster,
Sexual Harrassment,
Minny Pops,
The Slits,
A Flock of Seagulls,
T. Rex,
Parry Music,
the Soft Cell,
DJ Style,
Jeff Mills,
Beasts of Bourbon,
The United States of America,
Funky Four + One,
Lou Reed & John Cale,
Andrew Hill,
Oblivians,
The Gun Club,
The Standells,
Altered Images,
Q and Not U,
Sister Nancy,
Flash Fearless,
Dawn Penn,
Index,
Camron Feat. Memphis Bleek And Beenie Seigel,
X-101,
Liaisons Dangereuses,
The Blues Magoos,
Young Marble Giants,
Marc Almond,
Vladislav Delay,
The Star Department, The Star Department, The Star Department, The Star Department.
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.