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 Russia and from Winnipeg.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Beijing.
I'm losing my edge to the art-school Delhi 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the rhodes 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 Minor Threat to the electroclash 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 Slave. All the underground hits.
All Little Man tracks. I heard you have a vinyl of every Bob Dylan record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cheater Slicks,
Marc Almond,
AZ,
a-ha,
Traffic Nightmare,
Pharoah Sanders,
Barrington Levy,
The Cramps,
One Last Wish,
The Electric Prunes,
Jacob Miller,
Big Daddy Kane,
Alice Coltrane,
Jerry's Kids,
It's A Beautiful Day,
Make Up,
Maleditus Sound,
Eden Ahbez,
Crime,
The Five Americans,
The Blues Magoos,
Skarface,
Graham Central Station,
Junior Murvin,
Saccharine Trust,
Bill Near,
Stereo Dub,
Dave Gahan,
Cameo,
The Offenders,
Throbbing Gristle,
Das Ding,
Supertramp,
Avey Tare & Kría Brekkan,
Monolake,
Ohio Players,
Rotary Connection,
Iggy Pop,
The Last Poets,
Brand Nubian,
the Sonics,
Letta Mbulu,
Cybotron,
Buzzcocks,
Selector Dub Narcotic,
Hasil Adkins,
Sun Ra Arkestra,
Scott Walker + Sunn O))),
Sad Lovers and Giants,
Neu!,
The Modern Lovers,
CMW,
The Jesus and Mary Chain,
John Cale,
The Smiths,
Masters at Work,
Hashim,
The Gladiators,
Goldenarms,
Lakeside,
T.S.O.L., T.S.O.L., T.S.O.L., T.S.O.L..
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.