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 Dominican Republic and from Houston.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Lagos and Tokyo.
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 Chic practice in a loft in New York.
I was working on the oboe 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 Nick Cave & The Bad Seeds to the disco kids.
I played it at the Spitz.
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 Talk Talk. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every Royal Trux 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 '70s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
Talk Talk,
Maleditus Sound,
Be Bop Deluxe,
The Toasters,
Deutsch Amerikanische Freundschaft,
Leonard Cohen,
Flamin' Groovies,
David Axelrod,
Louis and Bebe Barron,
Q65,
Orchestral Manoeuvres in the Dark,
Country Teasers,
Man Parrish,
Jandek,
The Modern Lovers,
Bronski Beat,
The Victims,
Bad Manners,
The Leaves,
Ultravox,
R.M.O.,
Peter & Gordon,
Sly & The Family Stone,
Henry Cow,
Fatback Band,
Desert Stars,
Rapeman,
Throbbing Gristle,
the Association,
Boogie Down Productions,
Royal Trux,
The Pop Group,
The Doobie Brothers,
the Sonics,
The Music Machine,
The Shadows of Knight,
T.S.O.L.,
Bang On A Can,
Minutemen,
Drive Like Jehu,
Cecil Taylor,
Icehouse,
Ituana,
Nik Kershaw,
John Holt,
Godley & Creme,
Terror Squad Feat. Camron,
Ralphi Rosario,
Erasure,
Lower 48,
DJ Sneak,
Scott Walker,
Kaleidoscope,
Nas,
The Fugs,
Gang of Four,
Eden Ahbez,
The Litter,
Minny Pops,
Motorama,
De La Soul & Jungle Brothers,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.