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 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 1964 to 1971.
I'm losing my edge.
To all the kids in Salvador and Jakarta.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the guitar sounds with much patience.
I was there when Donald Fagen 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 N.O.R.E. Featuring Pharrell to the crunk kids.
I played it at the Troubador.
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 The Buckinghams. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every Beasts of Bourbon record on German import.
I heard that you have a white label of every seminal jazz 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 güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
The Fire Engines,
Whodini,
The Vogues,
Jerry Gold Smith,
Adolescents,
Scratch Acid,
Ossler,
Joyce Sims,
Godley & Creme,
The West Coast Pop Art Experimental Band,
Bobbi Humphrey,
Alison Limerick,
Selector Dub Narcotic,
Justin Hinds & The Dominoes,
Second Layer,
The Red Krayola,
Symarip,
This Heat,
Crime,
Ultravox,
The Names,
Pantytec,
Eve St. Jones,
Rufus Thomas,
Ohio Players,
Dark Day,
Gang of Four,
the Bar-Kays,
The Angels of Light,
Sound Behaviour,
Flash Fearless,
Lou Christie,
Kaleidoscope,
Negative Approach,
Cal Tjader,
PIL,
The Fall,
Lower 48,
Pete Rock & C.L. Smooth,
Royal Trux,
Monolake,
Icehouse,
Lungfish,
Loose Ends,
Echospace,
Fad Gadget,
Malaria!,
Oppenheimer Analysis,
Television,
Sun City Girls,
Nik Kershaw,
Major Organ And The Adding Machine,
Al Stewart,
Richard Hell and the Voidoids,
Isaac Hayes,
10cc,
Deadbeat,
Ash Ra Tempel,
Siouxsie and the Banshees,
Kayak,
China Crisis,
Quantec, Quantec, Quantec, Quantec.
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.