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 Iceland and from Copenhagen.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1972.
I'm losing my edge.
To all the kids in Manchester and Woodstock.
I'm losing my edge to the art-school London 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Man Eating Sloth to the punk kids.
I played it at the Crocodile.
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 Oppenheimer Analysis. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Jawbox record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 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 Last Poets,
Sixth Finger,
X-Ray Spex,
kango's stein massive,
Connie Case,
Jeff Mills,
Gil Scott-Heron & Brian Jackson,
Slave,
The Gories,
Delon & Dalcan,
The J.B.'s,
Marine Girls,
Deutsch Amerikanische Freundschaft,
Saccharine Trust,
Neu!,
Roxy Music,
U.S. Maple,
Theoretical Girls,
The Music Machine,
Simply Red,
Howard Jones,
Parry Music,
L. Decosne,
Mr. Review,
Motorama,
48th St. Collective,
The Move,
Joy Division,
The Searchers,
Peter & Gordon,
MDC,
Sly & The Family Stone,
Ten City,
The Evens,
Siouxsie and the Banshees,
UT,
Derrick May,
Chris & Cosey,
ABC,
Kauko Röyhkä ja Narttu,
Nation of Ulysses,
The Sonics,
Wally Richardson,
James Chance & The Contortions,
Joey Negro,
Drexciya,
Animal Collective,
Ash Ra Tempel,
JFA,
Ronnie Foster,
Eve St. Jones,
The Mummies,
Spandau Ballet,
The Star Department,
Kango’s Stein Massive,
The Remains,
Albert Ayler,
Leonard Cohen,
Gang Starr,
The Moleskins,
Kayak,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.