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 Maldives and from Lyon.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Copenhagen.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the arpeggiator 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 Infiniti to the techno kids.
I played it at the Spitz.
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 Inner City. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every John Holt 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
Stetsasonic,
Pagans,
It's A Beautiful Day,
Ludus,
the Soft Cell,
The Birthday Party,
Swans,
Eyeless In Gaza,
Make Up,
Young Marble Giants,
Negative Approach,
The Cure,
Eve St. Jones,
Alice Coltrane,
Andrew Hill,
Bad Manners,
Q and Not U,
Model 500,
The Trojans,
The Leaves,
Black Pus,
Delon & Dalcan,
Lou Reed,
Eric B and Rakim,
Y Pants,
The Blackbyrds,
Stereo Dub,
Country Teasers,
The Saints,
Cheater Slicks,
Harmonia,
Man Eating Sloth,
Harry Pussy,
The Count Five,
The United States of America,
Roy Ayers Ubiquity,
Underground Resistance,
Ossler,
D'Angelo,
Brand Nubian,
Sad Lovers and Giants,
Bill Near,
The Blues Magoos,
A Flock of Seagulls,
Urselle,
Swell Maps,
the Bar-Kays,
U.S. Maple,
Monolake,
The Fortunes,
Throbbing Gristle,
Lou Reed & Metallica,
Ice-T,
Eric Copeland,
Robert Görl,
The Fuzztones,
Ronan,
Tres Demented,
Super Lover Cee & Casanova Rud,
Lungfish,
Ralphi Rosario,
Rod Modell,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.