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 Paraguay and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1979.
I'm losing my edge.
To all the kids in Bremen and Taipei.
I'm losing my edge to the art-school Stockholm 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 The Dirtbombs to the electroclash kids.
I played it at CBGB's.
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 Duran Duran. All the underground hits.
All Franke tracks. I heard you have a vinyl of every Agitation Free record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jimmy McGriff,
PIL,
Lee Hazlewood,
Terry Callier,
Soft Machine,
Jesper Dahlback,
Pylon,
Don Cherry,
Groovy Waters,
La Düsseldorf,
Moby Grape,
Siglo XX,
Black Pus,
Stiv Bators,
The Flesh Eaters,
The Trojans,
Jawbox,
Deadbeat,
The Golliwogs,
Sly & The Family Stone,
Monks,
Kauko Röyhkä ja Narttu,
Nik Kershaw,
Radio Birdman,
Richard Hell and the Voidoids,
Robert Görl,
The Offenders,
Bob Dylan,
Moebius,
Minnie Riperton,
Throbbing Gristle,
Massinfluence,
the Bar-Kays,
Byron Stingily,
Ronan,
Quadrant,
Deutsch Amerikanische Freundschaft,
Rhythm & Sound,
New York Dolls,
Jerry's Kids,
8 Eyed Spy,
Blancmange,
Jesper Dahlbäck,
Mr. Review,
Intrusion,
Talk Talk,
Delta 5,
Dorothy Ashby,
Mission of Burma,
Avey Tare & Kría Brekkan,
New Age Steppers,
The Invisible,
Lou Christie,
Wally Richardson,
John Coltrane,
Roger Hodgson,
John Cale,
Eden Ahbez,
Bauhaus,
Justin Hinds & The Dominoes,
Eyeless In Gaza,
The Cure,
The Birthday Party,
MDC, MDC, MDC, MDC.
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.