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 Zimbabwe and from Portland.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Portland and Tehran.
I'm losing my edge to the art-school Taipei 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the rhodes sounds with much patience.
I was there when David Bowie 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 Howard Jones to the disco kids.
I played it at the 40 Watt.
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 Sun Ra Arkestra. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every Joe Smooth 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 '60s cut and another box set from the '70s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Barracudas,
Amon Düül II,
Nico,
Rhythim Is Rhythim,
Matthew Bourne,
Throbbing Gristle,
Gabor Szabo,
the Swans,
The West Coast Pop Art Experimental Band,
Das Ding,
Gerry Rafferty,
Cluster,
Stiv Bators,
London Community Gospel Choir,
Fad Gadget,
The Fall,
Fort Wilson Riot,
Deakin,
Aswad,
Hasil Adkins,
Kas Product,
Lebanon Hanover,
Pole,
Derrick May,
Siouxsie and the Banshees,
The Searchers,
Amon Düül,
Archie Shepp,
Yusef Lateef,
Jacques Brel,
Echo & the Bunnymen,
Nick Cave & The Bad Seeds,
the Bar-Kays,
Joey Negro,
Ituana,
Massinfluence,
Rites of Spring,
Sex Pistols,
Swell Maps,
Minor Threat,
Donny Hathaway,
The Saints,
The Slits,
Henry Cow,
UT,
Teenage Jesus and the Jerks,
Ice-T,
Y Pants,
Thinking Fellers Union Local 282,
Slave,
Steve Hackett,
New Age Steppers,
The Birthday Party,
Make Up,
The Walker Brothers,
Spandau Ballet,
The Fugs,
L. Decosne,
Joyce Sims,
Freddie Wadling,
The Offenders, The Offenders, The Offenders, The Offenders.
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.