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 Bangladesh and from Manchester.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 Edmonton and Bremen.
I'm losing my edge to the art-school Shanghai 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the guitar 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 Andrew Ashong & Theo Parrish to the dance 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 Glambeats Corp.. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every L. Decosne 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 '70s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a David McCallum record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
The Pop Group,
Lebanon Hanover,
48th St. Collective,
The Golliwogs,
Glenn Branca,
Orchestral Manoeuvres in the Dark,
Black Bananas,
Soft Cell,
the Swans,
The Birthday Party,
Second Layer,
The Electric Prunes,
Babytalk,
Kango’s Stein Massive,
Suicide,
Wire,
Kevin Saunderson,
Kings Of Tomorrow,
Maleditus Sound,
Crispian St. Peters,
Kas Product,
the Sonics,
Donald Byrd,
Rhythm & Sound,
Art Ensemble Of Chicago,
Harpers Bizarre,
Malaria!,
Jacob Miller,
Maurizio,
Rufus Thomas,
Japan,
Roxette,
The Sound,
Nik Kershaw,
Gian Franco Pienzio,
Ralphi Rosario,
Joe Smooth,
Larry & the Blue Notes,
Cheater Slicks,
The Cramps,
Steve Hackett,
The Royal Family And The Poor,
Cecil Taylor,
The Red Krayola,
The Martian,
The Gun Club,
Inner City,
the Bar-Kays,
Grey Daturas,
Erasure,
Siglo XX,
Ken Boothe,
Niagra,
Thompson Twins,
Moby Grape,
Public Enemy,
Average White Band,
It's A Beautiful Day,
The Saints,
The West Coast Pop Art Experimental Band,
Stiv Bators,
Sixth Finger,
Slave,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.