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 Luxembourg and from Paris.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Salvador and Paris.
I'm losing my edge to the art-school Copenhagen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 Gang Gang Dance to the dance kids.
I played it at the 40 Watt.
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 Masters at Work. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every Suicide record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Soft Cell,
Magma,
Tommy Roe,
Gil Scott-Heron and Jamie xx,
Stereo Dub,
China Crisis,
Sarah Menescal,
Sly & The Family Stone,
Liliput,
The Human League,
KRS-One,
Maurizio,
The Walker Brothers,
Be Bop Deluxe,
Soft Machine,
Bootsy's Rubber Band,
Reagan Youth,
Cymande,
Bobby Sherman,
Oneida,
Hardrive,
The Grass Roots,
Inner City,
Suicide,
The Trojans,
The Monochrome Set,
Manfred Mann's Earth Band,
Barbara Tucker,
Neil Young,
Slick Rick,
A Flock of Seagulls,
Peter Gordon & Love of Life Orchestra,
Kenny Larkin,
X-101,
The Gladiators,
Bill Near,
Zapp,
Aloha Tigers,
Television,
Lucky Dragons,
Swans,
Traffic Nightmare,
The Music Machine,
Essential Logic,
The Black Dice,
Kayak,
Minutemen,
Matthew Halsall,
Tom Boy,
Captain Beefheart & His Magic Band,
Yazoo,
Kerrie Biddell,
Pere Ubu,
Sandy B,
The Vogues,
Mr. Review,
The Mojo Men,
the Germs,
The Invisible,
Newcleus,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.