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 Seychelles and from Manchester.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Spokane and Portland.
I'm losing my edge to the art-school Stockholm 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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe 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 In Retrospect to the punk 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 Maleditus Sound. All the underground hits.
All Bang On A Can tracks. I heard you have a vinyl of every Reagan Youth 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 organ and are throwing your macbook out the window because you want to make something real. You want to make a Motorama record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
Funkadelic,
Thee Headcoats,
Lalo Schifrin,
Rakim,
Banda Bassotti,
Blancmange,
Delon & Dalcan,
The Cure,
The Shadows of Knight,
Brand Nubian,
Barry Ungar,
The Monks,
Bang On A Can,
Ash Ra Tempel,
Kango’s Stein Massive,
Hardrive,
Ossler,
The Associates,
Guru Guru,
the Sonics,
E-Dancer,
Bobby Womack,
Index,
Suburban Knight,
Godley & Creme,
Cabaret Voltaire,
Arthur Verocai,
Roger Hodgson,
The Monochrome Set,
The Doors,
The Alarm Clocks,
Juan Atkins,
Tropical Tobacco,
Ohio Players,
Yaz,
Maurizio,
June Days,
JFA,
Rekid,
The American Breed,
Flash Fearless,
Moss Icon,
Junior Murvin,
Robert Görl,
Roxy Music,
The Dead C,
Nick Cave & The Bad Seeds,
Darondo,
DJ Sneak,
B.T. Express,
Tim Buckley,
Nik Kershaw,
Faraquet,
Reuben Wilson,
The Cramps,
The Vogues,
Susan Cadogan,
The Victims,
Avey Tare & Kría Brekkan,
Freddie Wadling,
Von Mondo,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.