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 Indonesia and from Stockholm.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Bremen and Johannesburg.
I'm losing my edge to the art-school Shanghai 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 1978 at the first Visage practice in a loft in London.
I was working on the clarinet 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 Eurythmics to the funk 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 The Cure. All the underground hits.
All Mo-Dettes tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
The Gladiators,
The Misunderstood,
Dual Sessions,
Rapeman,
The Techniques,
Dark Day,
Eyeless In Gaza,
Flash Fearless,
Newcleus,
Derrick May,
Aloha Tigers,
Adolescents,
The Standells,
Suicide,
Röyhkä ja Rättö ja Lehtisalo,
Glambeats Corp.,
H. Thieme,
Gabor Szabo,
Lou Reed,
Al Stewart,
Sun Ra Arkestra,
The Count Five,
10cc,
The Cosmic Jokers,
Zero Boys,
Eve St. Jones,
The Index,
8 Eyed Spy,
The Music Machine,
The Shadows of Knight,
Lyres,
Soft Cell,
Funky Four + One,
Sarah Menescal,
Slave,
The Electric Prunes,
KRS-One,
Grey Daturas,
Desert Stars,
The Selecter,
Max Romeo,
Thinking Fellers Union Local 282,
Black Pus,
Jacques Brel,
Fifty Foot Hose,
Moebius,
Deadbeat,
Rhythm & Sound,
Popol Vuh,
Man Parrish,
Orchestral Manoeuvres in the Dark,
Gregory Isaacs,
Television Personalities,
Gil Scott-Heron & Brian Jackson,
Rites of Spring,
Terror Squad Feat. Camron,
Pantaleimon,
Harry Pussy,
the Soft Cell,
Main Source,
Sällskapet,
Graham Central Station,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.