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 Macedonia and from Taipei.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Beijing and Copenhagen.
I'm losing my edge to the art-school Glasgow 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 rock kids.
I played it at the Astoria.
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 Stetsasonic. All the underground hits.
All The Beau Brummels tracks. I heard you have a vinyl of every Pharoah Sanders 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Dawn Penn record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
Lou Reed,
the Association,
Glambeats Corp.,
Barbara Tucker,
The Gladiators,
Terrestrial Tones,
Cecil Taylor,
Icehouse,
Bobby Sherman,
Fear,
Monolake,
MDC,
Toni Rubio,
Second Layer,
The Gories,
The Raincoats,
Stiv Bators,
Mary Jane Girls,
Depeche Mode,
the Swans,
The Moody Blues,
Gian Franco Pienzio,
Howard Jones,
the Fania All-Stars,
Kerri Chandler,
Ultramagnetic MC's,
Bluetip,
The Last Poets,
Stockholm Monsters,
The Tremeloes,
Chrome,
Fela Kuti,
Vaughan Mason & Crew,
Procol Harum,
Masters at Work,
The J.B.'s,
Los Fastidios,
The Wake,
The Star Department,
Graham Central Station,
Traffic Nightmare,
a-ha,
John Coltrane,
Deakin,
The Happenings,
Talk Talk,
Moebius,
The Litter,
Alison Limerick,
Lower 48,
Eyeless In Gaza,
Red Lorry Yellow Lorry,
Scott Walker,
Soulsonic Force,
Gang Gang Dance,
Main Source,
Eric B and Rakim,
Brass Construction,
De La Soul & Jungle Brothers,
Organ,
The Music Machine,
Smog, Smog, Smog, Smog.
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.