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 Liberia and from Tehran.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Bremen and Taipei.
I'm losing my edge to the art-school Hong Kong 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the snare 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 CMW to the electroclash kids.
I played it at Trash.
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 Wings. All the underground hits.
All Crooked Eye tracks. I heard you have a vinyl of every The United States of America 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Leaves,
Rowland S Howard / Lydia Lunch,
Main Source,
Camberwell Now,
Isaac Hayes,
Amon Düül,
10cc,
Rod Modell,
Johnny Clarke,
Oppenheimer Analysis,
Dark Day,
Sonny Sharrock,
Wire,
Amazonics,
Moebius,
Fort Wilson Riot,
Freddie Wadling,
Second Layer,
X-Ray Spex,
Blake Baxter,
Bang on a Can All-Stars,
Pylon,
Avey Tare,
Robert Wyatt,
The J.B.'s,
Intrusion,
The Fire Engines,
Nils Olav,
Andrew Hill,
Negative Approach,
Lee Hazlewood,
Television Personalities,
Goldenarms,
Amon Düül II,
The Seeds,
Stereo Dub,
Marine Girls,
The Cure,
Susan Cadogan,
The Birthday Party,
Justin Hinds & The Dominoes,
Erasure,
Young Marble Giants,
Sound Behaviour,
La Düsseldorf,
Robert Görl,
The Blackbyrds,
One Last Wish,
Adolescents,
Urselle,
The West Coast Pop Art Experimental Band,
Kas Product,
James Chance & The Contortions,
Rufus Thomas,
The Dirtbombs,
The Beau Brummels,
Bootsy Collins,
Bauhaus,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ituana,
CMW,
Model 500,
Prince Buster,
Can,
Outsiders, Outsiders, Outsiders, Outsiders.
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.