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 Andorra and from Lille.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Winnipeg and Johannesburg.
I'm losing my edge to the art-school Copenhagen 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 1978 at the first Visage practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 The Standells to the jazz kids.
I played it at the Crocodile.
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 Rahsaan Roland Kirk. All the underground hits.
All The Music Machine tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Man Eating Sloth,
The Gun Club,
The Offenders,
Traffic Nightmare,
Gil Scott-Heron & Brian Jackson,
A Certain Ratio,
The Victims,
Motorama,
Yaz,
Ultravox,
X-Ray Spex,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Average White Band,
Cymande,
Underground Resistance,
Patti Smith,
Röyhkä ja Rättö ja Lehtisalo,
Pylon,
Brand Nubian,
Erasure,
Icehouse,
Chris & Cosey,
Pole,
Johnny Osbourne,
La Düsseldorf,
The Cowsills,
Skarface,
Beasts of Bourbon,
Hot Snakes,
Qualms,
Terry Callier,
Sight & Sound,
Black Flag,
Bobbi Humphrey,
Kayak,
The Sisters of Mercy,
Reagan Youth,
Prince Buster,
Barclay James Harvest,
Sound Behaviour,
The Count Five,
Kauko Röyhkä ja Narttu,
R.M.O.,
The Beau Brummels,
James White and The Blacks,
Scan 7,
Schoolly D,
Mission of Burma,
Neil Young & Crazy Horse,
Faust,
Basic Channel,
cv313,
Trumans Water,
Mars,
James Chance & The Contortions,
The Cure,
Mark Hollis,
Jandek,
Throbbing Gristle,
Yellowson,
Livin' Joy, Livin' Joy, Livin' Joy, Livin' Joy.
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.