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 Haiti and from Lyon.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Paris and Copenhagen.
I'm losing my edge to the art-school Bremen 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 Art of Noise practice in a loft in London.
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 Leonard Cohen to the dance 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 Rhythm & Sound. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Ituana record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Dirtbombs record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum 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 Barracudas,
Traffic Nightmare,
Ronnie Foster,
Harmonia,
Sixth Finger,
Andrew Ashong & Theo Parrish,
Outsiders,
Stockholm Monsters,
Gil Scott Heron,
Soul II Soul,
Brass Construction,
JFA,
Reuben Wilson,
Derrick Morgan,
Connie Case,
Danielle Patucci,
Deakin,
T.S.O.L.,
the Fania All-Stars,
The Alarm Clocks,
Babytalk,
Avey Tare & Kría Brekkan,
Slave,
Silicon Teens,
Nils Olav,
Jesper Dahlbäck,
The Modern Lovers,
The Busters,
Qualms,
The Gap Band,
Blancmange,
Audionom,
Zero Boys,
Mark Hollis,
Soulsonic Force,
The Blackbyrds,
Con Funk Shun,
Eli Mardock,
Deepchord,
Jimmy McGriff,
Basic Channel,
Moss Icon,
Gary Puckett & The Union Gap,
Matthew Halsall,
Graham Central Station,
Pharoah Sanders,
Althea and Donna,
The Leaves,
Slick Rick,
Kings Of Tomorrow,
Laurel Aitken,
The Peanut Butter Conspiracy,
Grey Daturas,
AZ,
Arthur Verocai,
MDC,
Bobby Hutcherson,
Lakeside,
Average White Band,
John Holt, John Holt, John Holt, John Holt.
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.