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 Paraguay and from Jakarta.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Delhi and Jakarta.
I'm losing my edge to the art-school Lagos 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 Feelies practice in a loft in Haledon.
I was working on the clarinet 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 Gong to the techno 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 Frankie Knuckles. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Gong record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
The Standells,
Röyhkä ja Rättö ja Lehtisalo,
John Lydon,
La Düsseldorf,
Man Eating Sloth,
Pylon,
The Doobie Brothers,
Barry Ungar,
The Monks,
Lyres,
Severed Heads,
The Happenings,
Rowland S Howard / Lydia Lunch,
Stiv Bators,
Barclay James Harvest,
The Busters,
The Blues Magoos,
Graham Central Station,
Moebius,
Nick Cave & The Bad Seeds,
Los Fastidios,
The Offenders,
Scratch Acid,
Curtis Mayfield,
Agent Orange,
Suburban Knight,
Eyeless In Gaza,
Amon Düül II,
A Flock of Seagulls,
Marc Almond,
Fugazi,
Babytalk,
Mark Hollis,
the Soft Cell,
Little Man,
Justin Hinds & The Dominoes,
The Searchers,
The Human League,
Johnny Osbourne,
The Sisters of Mercy,
Alison Limerick,
Symarip,
Half Japanese,
The Trojans,
Mr. Review,
Wighnomy Brothers & Robag Wruhme,
Wolf Eyes,
F. McDonald,
Nik Kershaw,
Skriet,
Art Ensemble Of Chicago,
Hoover,
Radiohead,
The Victims,
Jeru the Damaja,
Dorothy Ashby,
The Pretty Things,
the Bar-Kays,
Avey Tare & Kría Brekkan,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.