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 United States and from Delhi.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Bremen and Houston.
I'm losing my edge to the art-school Bremen 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 The Durutti Column to the electroclash kids.
I played it at the Crocodile.
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 Robert Görl. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Soft Cell record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Traffic Nightmare,
X-Ray Spex,
The Human League,
Idris Muhammad,
Danielle Patucci,
Pere Ubu,
Matthew Bourne,
Excepter,
Jimmy McGriff,
The Doobie Brothers,
The Litter,
Reagan Youth,
Gang Green,
Josef K,
Cameo,
ABC,
ABBA,
Aswad,
Lyres,
Youth Brigade,
Isaac Hayes,
The Sisters of Mercy,
Interpol,
Fugazi,
Tomorrow,
Crispy Ambulance,
The West Coast Pop Art Experimental Band,
Faust,
Rahsaan Roland Kirk,
Notorious BIG live in Amsterdam,
Flipper,
Mo-Dettes,
Simply Red,
The Blackbyrds,
Michelle Simonal,
The Dead C,
Second Layer,
Tears for Fears,
The Cowsills,
Whodini,
The Stooges,
Maurizio,
Aaron Thompson,
Lindisfarne,
Lonnie Liston Smith,
The Raincoats,
Graham Central Station,
Rotary Connection,
Liaisons Dangereuses,
Lucky Dragons,
Clear Light,
Nick Fraelich,
Main Source,
Funkadelic,
Porter Ricks,
Cymande,
Captain Beefheart & His Magic Band,
Bang on a Can All-Stars,
Sixth Finger,
Heavy D & The Boyz,
The Music Machine,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.