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 Burundi and from New York.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1965 to 1976.
I'm losing my edge.
To all the kids in Lille and Milan.
I'm losing my edge to the art-school Mexico City 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 at the first Suicide practice in a loft in New York.
I was working on the arpeggiator 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 Magazine to the punk kids.
I played it at CBGB's.
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 Liliput. All the underground hits.
All Fatback Band tracks. I heard you have a vinyl of every X-102 record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delta 5,
Swans,
Pharaoh Sanders and the Fire Engines,
AZ,
Siouxsie and the Banshees,
Notorious BIG live in Amsterdam,
Bauhaus,
The Jesus and Mary Chain,
F. McDonald,
Scott Walker + Sunn O))),
Deutsch Amerikanische Freundschaft,
U.S. Maple,
The Music Machine,
The Velvet Underground,
Drexciya,
Electric Prunes,
Jawbox,
The American Breed,
Eyeless In Gaza,
Grandmaster Flash and the Furious Five,
Chris & Cosey,
Alice Coltrane,
China Crisis,
These Immortal Souls,
Sunsets and Hearts,
Sugar Minott,
Marmalade,
The Golliwogs,
Interpol,
Camberwell Now,
the Slits,
Godley & Creme,
Wings,
Pierre Henry,
Absolute Body Control,
Dark Day,
T.S.O.L.,
The Dave Clark Five,
The Selecter,
The Star Department,
Sun City Girls,
Arthur Verocai,
Monks,
Silicon Teens,
Soft Machine,
The Standells,
Blossom Toes,
Man Parrish,
Marc Romboy vs. Booka Shade,
The Skatalites,
Jesper Dahlbäck,
Circle Jerks,
One Last Wish,
The Fugs,
The Fortunes,
Gil Scott-Heron & Brian Jackson,
Ultravox,
The Invisible,
Television,
Wally Richardson,
Major Organ And The Adding Machine,
The Sonics,
The Move,
Grauzone, Grauzone, Grauzone, Grauzone.
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.