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 Korea North and from Milan.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Cairo.
I'm losing my edge to the art-school Toronto 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 LL Cool J to the punk 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 Adolescents. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every Cheater Slicks record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Laurel Aitken,
The Human League,
Frankie Knuckles,
The Smoke,
The Fuzztones,
James White and The Blacks,
James Chance & The Contortions,
Electric Light Orchestra,
Half Japanese,
Eve St. Jones,
The Royal Family And The Poor,
Wolf Eyes,
Man Parrish,
Model 500,
The Slackers,
Gil Scott Heron,
Electric Prunes,
Art Ensemble Of Chicago,
Donny Hathaway,
Eric Copeland,
Danielle Patucci,
Pete Rock & C.L. Smooth,
Black Flag,
The Blues Magoos,
Kaleidoscope,
Cymande,
Sound Behaviour,
Magma,
DJ Sneak,
Marine Girls,
John Holt,
Easy Going,
Flipper,
The Mojo Men,
Pole,
Loose Ends,
MDC,
Swell Maps,
Siglo XX,
Lou Reed,
Matthew Halsall,
Scion,
Black Moon,
Grandmaster Flash and the Furious Five,
The New Christs,
Stiv Bators,
Skaos,
Carl Craig,
Theoretical Girls,
Los Fastidios,
Livin' Joy,
Sad Lovers and Giants,
Red Lorry Yellow Lorry,
Joyce Sims,
A Flock of Seagulls,
The Fortunes,
Henry Cow,
Johnny Osbourne,
Isaac Hayes,
Roy Ayers,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.