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 Uganda and from London.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Bremen and Lagos.
I'm losing my edge to the art-school Manchester 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 chamberlin 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 Kas Product to the dance kids.
I played it at the Hacienda.
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 Lou Reed & John Cale. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal rap 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 rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
Andrew Hill,
The Dirtbombs,
The Five Americans,
Echospace,
Sound Behaviour,
Cybotron,
the Bar-Kays,
Reuben Wilson,
Lafayette Afro Rock Band,
The Misunderstood,
UT,
Mad Mike,
Grey Daturas,
Alphaville,
Youth Brigade,
Theoretical Girls,
Wolf Eyes,
Soul II Soul,
The Divine Comedy,
Lizzy Mercier Descloux,
The Remains,
Black Pus,
Eden Ahbez,
Roxy Music,
Bluetip,
the Germs,
Organ,
The Offenders,
Massinfluence,
Faust,
Robert Hood,
Kerri Chandler,
H. Thieme,
the Association,
Loose Ends,
Suicide,
Ice-T,
Zero Boys,
The Associates,
Rufus Thomas,
Notorious Big And Bone Thugs,
The Sonics,
Cheater Slicks,
Gerry Rafferty,
The Slits,
Liaisons Dangereuses,
The Durutti Column,
Jeff Mills,
Thee Headcoats,
The Monks,
World's Most,
Tears for Fears,
Clear Light,
Brick,
Porter Ricks,
LL Cool J,
Motorama,
Scrapy,
Livin' Joy,
New Age Steppers,
Mo-Dettes,
Gary Puckett & The Union Gap,
The Pop Group,
the Sonics, the Sonics, the Sonics, the Sonics.
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.