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 Cameroon and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Stockholm.
I'm losing my edge to the art-school Shanghai 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba 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 Jandek to the jazz kids.
I played it at Cafe Wha.
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 Jacques Brel. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every Eurythmics record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-Ray Spex,
Soft Cell,
Soft Machine,
Negative Approach,
Tears for Fears,
Peter Gordon & Love of Life Orchestra,
Crooked Eye,
Lee Hazlewood,
Kool G Rap & DJ Polo,
Electric Prunes,
Popol Vuh,
Sound Behaviour,
Rekid,
Charles Mingus,
Robert Görl,
The Selecter,
Desert Stars,
Sam Rivers,
Henry Cow,
Johnny Osbourne,
Q and Not U,
The Dave Clark Five,
Trumans Water,
Janne Schatter,
Stiv Bators,
The Walker Brothers,
The Sound,
Matthew Halsall,
The Knickerbockers,
Newcleus,
CMW,
Roy Ayers Ubiquity,
Lucky Dragons,
Lonnie Liston Smith,
Tropical Tobacco,
Con Funk Shun,
Marmalade,
Subhumans,
Harry Pussy,
Hoover,
Model 500,
The Star Department,
Bad Manners,
Avey Tare,
Country Teasers,
The Misunderstood,
Captain Beefheart & His Magic Band,
Fad Gadget,
Massinfluence,
Scratch Acid,
Joy Division,
Tomorrow,
Sun Ra Arkestra,
Slave,
Oppenheimer Analysis,
Delon & Dalcan,
kango's stein massive,
Marvin Gaye,
John Holt,
Sarah Menescal,
Ultimate Spinach,
The Searchers,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.