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 Dominica and from Bologna.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Manila and Manila.
I'm losing my edge to the art-school Hong Kong 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 Second Layer practice in a loft in South London.
I was working on the chamberlin 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 Radiopuhelimet to the techno kids.
I played it at the 40 Watt.
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 Nico. All the underground hits.
All Kool G Rap & DJ Polo tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sparks record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Association,
Brick,
the Germs,
Mary Jane Girls,
Intrusion,
The West Coast Pop Art Experimental Band,
Little Man,
Pharoah Sanders,
Das Ding,
Max Romeo,
Quando Quango,
Lee Hazlewood,
Funky Four + One,
Terry Callier,
Cheater Slicks,
Altered Images,
Warsaw,
Eyeless In Gaza,
Amon Düül,
Marcia Griffiths,
Skaos,
John Coltrane,
Be Bop Deluxe,
The Dave Clark Five,
The Litter,
Minor Threat,
Lalo Schifrin,
Zapp,
Byron Stingily,
Fad Gadget,
Harry Pussy,
Lou Reed & John Cale,
Eurythmics,
The Offenders,
Von Mondo,
The Flesh Eaters,
The Zeros,
Dual Sessions,
Teenage Jesus and the Jerks,
Smog,
The Men They Couldn't Hang,
Super Lover Cee & Casanova Rud,
The Music Machine,
Camron Feat. Memphis Bleek And Beenie Seigel,
Stereo Dub,
The Doors,
Kool G Rap & DJ Polo,
Soul Sonic Force,
Beasts of Bourbon,
Reuben Wilson,
Avey Tare & Kría Brekkan,
Television,
Absolute Body Control,
Major Organ And The Adding Machine,
Bang On A Can,
Bobby Womack,
Johnny Clarke,
Goldenarms,
Pylon,
Chris & Cosey,
Jimmy McGriff,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.