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 Korea South and from Manila.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Cairo and Lyon.
I'm losing my edge to the art-school Seoul 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 synthesizer 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 Motorama to the disco 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 Joe Finger. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Electric Light Orchestra 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 '90s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Jesus and Mary Chain record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fad Gadget,
John Lydon,
Kool G Rap & DJ Polo,
Section 25,
The J.B.'s,
Rites of Spring,
Mission of Burma,
Letta Mbulu,
Jeru the Damaja,
Tears for Fears,
Al Stewart,
Marc Almond,
La Düsseldorf,
Tom Boy,
Nas,
Television,
Big Daddy Kane,
Dual Sessions,
10cc,
Alison Limerick,
Boogie Down Productions,
Man Parrish,
Gregory Isaacs,
Main Source,
Laurel Aitken,
Connie Case,
Janne Schatter,
Eve St. Jones,
Robert Görl,
Johnny Osbourne,
Godley & Creme,
UT,
the Slits,
the Fania All-Stars,
Kerrie Biddell,
Hasil Adkins,
Notorious BIG live in Amsterdam,
Cheater Slicks,
Moss Icon,
London Community Gospel Choir,
The Monochrome Set,
The Invisible,
The Gap Band,
R.M.O.,
Soft Cell,
The Velvet Underground,
Audionom,
Pete Rock & C.L. Smooth,
Vaughan Mason & Crew,
Franke,
Supertramp,
Flipper,
Scrapy,
The Dave Clark Five,
Brick,
Marc Romboy vs. Booka Shade,
Soul Sonic Force,
Grandmaster Flash,
OOIOO,
Morten Harket,
Symarip,
Minor Threat,
The Sonics,
Minutemen, Minutemen, Minutemen, Minutemen.
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.