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 Micronesia and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1973.
I'm losing my edge.
To all the kids in Lagos and Portland.
I'm losing my edge to the art-school Sao Paulo 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 theremin 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 Mr. Review to the dance kids.
I played it at the Hacienda.
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 Nation of Ulysses. All the underground hits.
All The Cosmic Jokers tracks. I heard you have a vinyl of every Rod Modell 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 '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Tim Buckley,
48th St. Collective,
Brass Construction,
Sandy B,
Black Sheep,
Sad Lovers and Giants,
Lizzy Mercier Descloux,
Soul II Soul,
Quadrant,
The Smiths,
Pagans,
Crash Course in Science,
Sarah Menescal,
Boredoms,
Crispian St. Peters,
The Doobie Brothers,
Lou Reed,
Funkadelic,
The Cure,
DJ Style,
Gabor Szabo,
Moebius,
Infiniti,
Negative Approach,
Rites of Spring,
Ponytail,
Animal Collective,
The Residents,
Metal Thangz,
Brothers Johnson,
The Buckinghams,
Henry Cow,
Los Fastidios,
Vainqueur,
Rapeman,
The Moleskins,
Sonic Youth,
Kaleidoscope,
Ornette Coleman,
Adolescents,
Franke,
Davy DMX,
Justin Hinds & The Dominoes,
The Last Poets,
Robert Hood,
Outsiders,
Grey Daturas,
Can,
Fugazi,
The Modern Lovers,
Black Pus,
Sister Nancy,
Ten City,
Scratch Acid,
Electric Prunes,
Traffic Nightmare,
Siglo XX,
The Chocolate Watch Band,
Tropical Tobacco,
Howard Jones,
Roxy Music,
Blancmange,
The Real Kids,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.