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 Latvia and from Lille.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Delhi.
I'm losing my edge to the art-school Tokyo 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 Zapp practice in a loft in Hamilton.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 B.T. Express to the rock 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 Wings. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Moby Grape record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Red Krayola record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Mr. Review,
Mo-Dettes,
Pantaleimon,
Orchestral Manoeuvres in the Dark,
Roy Ayers Ubiquity,
The Evens,
Aswad,
The Angels of Light,
Depeche Mode,
Rakim,
the Fania All-Stars,
World's Most,
Pierre Henry,
Camberwell Now,
Theoretical Girls,
The Selecter,
Fela Kuti,
Average White Band,
The West Coast Pop Art Experimental Band,
Clear Light,
Public Enemy,
Lalo Schifrin,
Aloha Tigers,
Crime,
Sunsets and Hearts,
Quando Quango,
Tommy Roe,
Lou Reed & John Cale,
KRS-One,
Kool G Rap & DJ Polo,
Lindisfarne,
Boredoms,
Cheater Slicks,
New Age Steppers,
James White and The Blacks,
Pulsallama,
Sight & Sound,
Joe Smooth,
X-101,
Roger Hodgson,
Eddi Front,
Saccharine Trust,
The Martian,
FM Einheit,
JFA,
Ultravox,
Black Bananas,
Soul Sonic Force,
Niagra,
Dr. Dre and Snoop Doggy Dog,
In Retrospect,
Technova,
Pylon,
Marine Girls,
Wolf Eyes,
Neu!,
Minny Pops,
Donny Hathaway,
Yazoo,
Sound Behaviour,
Avey Tare & Kría Brekkan,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.