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 Tajikistan and from London.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Copenhagen.
I'm losing my edge to the art-school Beijing 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the güiro 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 Anakelly to the electroclash 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 Lebanon Hanover. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks 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 '60s cut and another box set from the '80s.
I hear you're buying a marimba 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 mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Crooked Eye,
Monks,
Mr. Review,
Can,
Khruangbin,
Ash Ra Tempel,
Laurel Aitken,
Bauhaus,
Wighnomy Brothers & Robag Wruhme,
48th St. Collective,
Stiv Bators,
Patti Smith,
Ituana,
Aural Exciters,
The Men They Couldn't Hang,
Outsiders,
Prince Buster,
Faraquet,
Camron Feat. Memphis Bleek And Beenie Seigel,
Roger Hodgson,
Flash Fearless,
David Bowie,
Excepter,
Louis and Bebe Barron,
Sunsets and Hearts,
Wire,
Basic Channel,
The West Coast Pop Art Experimental Band,
Mark Hollis,
Crispian St. Peters,
Shoche,
The Gun Club,
Desert Stars,
A Flock of Seagulls,
The Index,
Dennis Brown,
Sparks,
Unwound,
John Cale,
Black Pus,
Danielle Patucci,
Jeff Mills,
Quantec,
Goldenarms,
Zero Boys,
Major Organ And The Adding Machine,
David McCallum,
Gregory Isaacs,
Vaughan Mason & Crew,
Dr. Dre and Snoop Doggy Dog,
Donald Byrd,
Intrusion,
Peter & Gordon,
Los Fastidios,
Jandek,
Brass Construction,
Moebius,
Television Personalities,
Main Source,
The Five Americans,
Wings, Wings, Wings, Wings.
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.