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 Tunisia and from Calgary.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Lille and Mumbai.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the snare sounds with much patience.
I was there when Tom Verlaine 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 Reagan Youth to the techno 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 Index. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every Unwound record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
Arab on Radar,
Bauhaus,
Dead Boys,
The Moleskins,
Freddie Wadling,
Banda Bassotti,
Mark Hollis,
Man Parrish,
Peter Gordon & Love of Life Orchestra,
Thompson Twins,
The Names,
the Slits,
Animal Collective,
Shoche,
Althea and Donna,
The Blackbyrds,
Tim Buckley,
Yusef Lateef,
Gian Franco Pienzio,
David McCallum,
The Raincoats,
Stockholm Monsters,
Pere Ubu,
Young Marble Giants,
Andrew Ashong & Theo Parrish,
Mission of Burma,
Rhythm & Sound,
Marc Almond,
The Move,
Matthew Halsall,
Jacques Brel,
Gerry Rafferty,
Sarah Menescal,
Ajijia Myrayebe,
Jacob Miller,
Qualms,
The Dave Clark Five,
Joe Finger,
Absolute Body Control,
Sad Lovers and Giants,
Tears for Fears,
Josef K,
Half Japanese,
Max Romeo,
The Monks,
Can,
Ossler,
James Chance & The Contortions,
Kayak,
David Bowie,
Lonnie Liston Smith,
Angels of Light & Akron/Family,
Camberwell Now,
Brass Construction,
The Royal Family And The Poor,
Sound Behaviour,
The Men They Couldn't Hang,
The Modern Lovers,
Bobbi Humphrey,
Gary Puckett & The Union Gap,
Sparks, Sparks, Sparks, Sparks.
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.