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 Bulgaria and from Copenhagen.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Paris and Mexico City.
I'm losing my edge to the art-school Hong Kong 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 oboe sounds with much patience.
I was there when Michael McDonald 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 Wally Richardson to the techno kids.
I played it at the Roxy.
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 The Pop Group. All the underground hits.
All Iggy Pop tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
The Misunderstood,
Freddie Wadling,
John Holt,
X-101,
Unwound,
Clear Light,
The Doors,
Ultimate Spinach,
Zapp,
Theoretical Girls,
Alphaville,
New York Dolls,
The Dave Clark Five,
Gil Scott-Heron & Brian Jackson,
Aural Exciters,
Kayak,
The Cramps,
Curtis Mayfield,
AZ,
Judy Mowatt,
Piero Umiliani,
The Pretty Things,
kango's stein massive,
R.M.O.,
Y Pants,
The Music Machine,
Chrome,
Buzzcocks,
Scan 7,
The Five Americans,
Alison Limerick,
Kenny Larkin,
The Peanut Butter Conspiracy,
Newcleus,
Popol Vuh,
Fugazi,
Motorama,
Silicon Teens,
Arcadia,
Kauko Röyhkä ja Narttu,
Dawn Penn,
De La Soul & Jungle Brothers,
Roxette,
The Moody Blues,
T. Rex,
Cheater Slicks,
Symarip,
Glambeats Corp.,
D'Angelo,
Moebius,
Marc Almond,
Fifty Foot Hose,
Barrington Levy,
Tropical Tobacco,
Prince Buster,
Average White Band,
The Gun Club,
Sugar Minott,
Notorious BIG live in Amsterdam,
John Lydon, John Lydon, John Lydon, John Lydon.
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.