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 Morocco and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1977.
I'm losing my edge.
To all the kids in Philadelphia and London.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the rhodes 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 kango's stein massive to the jazz 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 Connie Case. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every The Smiths 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Stetsasonic,
Wolf Eyes,
The Monochrome Set,
Cameo,
Massinfluence,
Stockholm Monsters,
Soul Sonic Force,
Quando Quango,
The Smoke,
Stereo Dub,
Lalo Schifrin,
Dawn Penn,
The Evens,
Colin Newman,
Porter Ricks,
Scrapy,
Glambeats Corp.,
Parry Music,
Lightning Bolt,
Harry Pussy,
Marcia Griffiths,
The Vogues,
The West Coast Pop Art Experimental Band,
Bootsy Collins,
Agitation Free,
Big Daddy Kane,
Eric B and Rakim,
The Slits,
Bobby Sherman,
The Blackbyrds,
Adolescents,
The Happenings,
Circle Jerks,
Kango’s Stein Massive,
Infiniti,
Eurythmics,
Matthew Halsall,
Yellowson,
Funky Four + One,
Faraquet,
The Chocolate Watch Band,
KRS-One,
The Cowsills,
Patti Smith,
Rod Modell,
the Association,
The Skatalites,
Monks,
Radiopuhelimet,
The Electric Prunes,
Donald Byrd,
Harmonia,
The Slackers,
Albert Ayler,
DJ Sneak,
Underground Resistance,
Marc Almond,
Henry Cow,
The Wake,
The Black Dice, The Black Dice, The Black Dice, The Black Dice.
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.