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 Uruguay and from Jakarta.
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 1976.
I'm losing my edge.
To all the kids in Copenhagen and Sao Paulo.
I'm losing my edge to the art-school Edmonton 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 organ 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 Stetsasonic to the rap 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 the Swans. All the underground hits.
All A Flock of Seagulls tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your guitar and bought a 808.
I hear that you and your band have sold your 808 and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang on a Can All-Stars,
The Fuzztones,
Kenny Larkin,
Rakim,
The Moleskins,
Tropical Tobacco,
Warsaw,
Brass Construction,
Arthur Verocai,
Lindisfarne,
The Cure,
The J.B.'s,
the Association,
Lakeside,
The Dave Clark Five,
Pharaoh Sanders and the Fire Engines,
New Order,
Roy Ayers Ubiquity,
The Fire Engines,
Lyres,
The Sonics,
Hasil Adkins,
The Vogues,
Alton Ellis,
Brick,
Little Man,
Amon Düül,
The Barracudas,
Pantaleimon,
Fela Kuti,
John Foxx,
Roy Ayers,
Tres Demented,
Red Lorry Yellow Lorry,
The Litter,
Pussy Galore,
Ralphi Rosario,
Electric Prunes,
Mandrill,
Buzzcocks,
Radio Birdman,
The Happenings,
Lower 48,
Babytalk,
Vainqueur,
Mo-Dettes,
Anthony Braxton,
Toni Rubio,
Swell Maps,
Desert Stars,
Angels of Light & Akron/Family,
Flamin' Groovies,
The Music Machine,
Von Mondo,
The Remains,
Dead Boys,
Grandmaster Flash,
Talk Talk,
Morten Harket,
Skarface,
Todd Terry,
Kayak,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.