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 Bahamas and from Winnipeg.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Seoul and Seoul.
I'm losing my edge to the art-school Lagos 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 Josef K practice in a loft in Edinburgh.
I was working on the spring reverb 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 Goldenarms to the techno 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 U.S. Maple. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Livin' Joy 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Slits 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?
Pagans,
Fat Boys,
Darondo,
Bauhaus,
Mary Jane Girls,
KRS-One,
The Leaves,
The Fortunes,
Arcadia,
Essential Logic,
Todd Rundgren,
Sad Lovers and Giants,
Johnny Osbourne,
MDC,
Roxette,
Barclay James Harvest,
Roy Ayers Ubiquity,
Audionom,
Tears for Fears,
Interpol,
Manfred Mann's Earth Band,
Guru Guru,
Motorama,
Aswad,
Bootsy's Rubber Band,
Main Source,
Soft Cell,
Avey Tare's Slasher Flicks,
Desert Stars,
Delta 5,
Pierre Henry,
Bill Near,
Angry Samoans,
Flash Fearless,
Moby Grape,
The Alarm Clocks,
Minutemen,
These Immortal Souls,
Scion,
In Retrospect,
Yazoo,
Lucky Dragons,
Red Lorry Yellow Lorry,
Gil Scott-Heron & Brian Jackson,
Intrusion,
Thee Headcoats,
The Cure,
Depeche Mode,
Junior Murvin,
John Cale,
Masters at Work,
Leonard Cohen,
Bobby Hutcherson,
Prince Buster,
DJ Sneak,
X-101,
Susan Cadogan,
Liaisons Dangereuses,
Albert Ayler,
Model 500,
Jerry's Kids,
The Royal Family And The Poor,
Scratch Acid,
Deutsch Amerikanische Freundschaft,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.