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 Congo and from Manchester.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Salvador and Sao Paulo.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the güiro 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 Moss Icon to the punk kids.
I played it at the Crocodile.
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 Kerrie Biddell. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
Matthew Halsall,
The Index,
Anakelly,
Justin Hinds & The Dominoes,
Lakeside,
Cheater Slicks,
Sällskapet,
Traffic Nightmare,
Sparks,
Monks,
Wolf Eyes,
Soul II Soul,
Ronnie Foster,
Oneida,
Pere Ubu,
Scott Walker + Sunn O))),
Parry Music,
Lebanon Hanover,
Chris & Cosey,
Nas,
Lou Reed,
Goldenarms,
Bobby Byrd,
The Modern Lovers,
Gong,
Manfred Mann's Earth Band,
PIL,
The Buckinghams,
The Martian,
Liaisons Dangereuses,
Ultimate Spinach,
Unrelated Segments,
The Remains,
Matthew Bourne,
Ohio Players,
Clear Light,
Masters at Work,
Shoche,
The J.B.'s,
T. Rex,
Spandau Ballet,
John Holt,
CMW,
Cal Tjader,
Leonard Cohen,
Wally Richardson,
Popol Vuh,
Crooked Eye,
Sexual Harrassment,
Grauzone,
John Lydon,
Andrew Ashong & Theo Parrish,
L. Decosne,
Rites of Spring,
The Residents,
LL Cool J,
Agent Orange,
Steve Hackett,
Sarah Menescal,
Fort Wilson Riot,
Kango’s Stein Massive,
Grandmaster Flash,
The Leaves,
Kenny Larkin, Kenny Larkin, Kenny Larkin, Kenny Larkin.
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.