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 Kyrgyzstan and from Delhi.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Tehran and London.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum 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 Isaac Hayes 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 Subhumans. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every Arab on Radar record on German import.
I heard that you have a white label of every seminal electroclash 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 mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious Big And Bone Thugs,
Silicon Teens,
Beasts of Bourbon,
EPMD,
Radio Birdman,
The Fortunes,
Alison Limerick,
The Martian,
The Vogues,
Babytalk,
Rahsaan Roland Kirk,
Harpers Bizarre,
The Kinks,
The Monochrome Set,
Desert Stars,
A Certain Ratio,
Crispy Ambulance,
Connie Case,
The Invisible,
Procol Harum,
Althea and Donna,
Ultravox,
Strawberry Alarm Clock,
PIL,
Absolute Body Control,
Susan Cadogan,
The Toasters,
Tears for Fears,
Ludus,
Throbbing Gristle,
Lonnie Liston Smith,
Girls At Our Best!,
The Doors,
Mars,
Skarface,
Buzzcocks,
Moss Icon,
Marine Girls,
Vainqueur,
John Lydon,
Joe Finger,
Moby Grape,
Gil Scott-Heron & Brian Jackson,
Fad Gadget,
Boz Scaggs,
Q65,
Schoolly D,
Icehouse,
Bauhaus,
Danielle Patucci,
Sixth Finger,
Sister Nancy,
Youth Brigade,
Roy Ayers,
The Peanut Butter Conspiracy,
David McCallum,
World's Most,
8 Eyed Spy,
Glenn Branca,
Pere Ubu,
The Cosmic Jokers,
The Fire Engines,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.