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 Venezuela and from Cairo.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Paris and Shanghai.
I'm losing my edge to the art-school Tehran 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the mellotron 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 Terror Squad Feat. Camron to the disco kids.
I played it at the Astoria.
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 Peter and Kerry. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Bob Dylan record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
Brick,
the Association,
Main Source,
Talk Talk,
Maleditus Sound,
The Motions,
Liaisons Dangereuses,
Bobby Byrd,
Cecil Taylor,
Erykah Badu,
It's A Beautiful Day,
The Flesh Eaters,
Eve St. Jones,
Q and Not U,
Ten City,
Kerrie Biddell,
Silicon Teens,
Cymande,
The Martian,
OOIOO,
Janne Schatter,
The Standells,
Absolute Body Control,
Whodini,
Funkadelic,
Scion,
Masters at Work,
The Dead C,
Gabor Szabo,
Eli Mardock,
Country Teasers,
Wire,
Technova,
Basic Channel,
Fugazi,
The Fuzztones,
Public Image Ltd.,
Symarip,
A Certain Ratio,
Warsaw,
Eden Ahbez,
Blossom Toes,
The Alarm Clocks,
Can,
Jandek,
Pharoah Sanders,
Lakeside,
Visage,
Sun Ra,
The Neon Judgement,
Adolescents,
Barbara Tucker,
The Cosmic Jokers,
The Doobie Brothers,
Todd Terry,
Newcleus,
The Doors,
Crispian St. Peters,
Saccharine Trust,
Man Parrish,
Yusef Lateef,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.