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 Georgia and from Taipei.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Houston and Bremen.
I'm losing my edge to the art-school Tokyo 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 1973 at the first Television practice in a loft in New York.
I was working on the 808 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 Model 500 to the punk 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 In Retrospect. All the underground hits.
All Aloha Tigers tracks. I heard you have a vinyl of every Manfred Mann's Earth Band record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Buzzcocks,
Jacob Miller,
Matthew Bourne,
Gang Starr,
Barrington Levy,
Wolf Eyes,
Roxy Music,
Sam Rivers,
Man Eating Sloth,
Maleditus Sound,
Kerrie Biddell,
Terrestrial Tones,
Vaughan Mason & Crew,
Public Image Ltd.,
Scrapy,
Donny Hathaway,
Gary Puckett & The Union Gap,
Kevin Saunderson,
James White and The Blacks,
the Soft Cell,
Josef K,
Make Up,
Rakim,
David Axelrod,
Model 500,
The Alarm Clocks,
Quando Quango,
Angels of Light & Akron/Family,
Robert Görl,
Rowland S Howard / Lydia Lunch,
Isaac Hayes,
The Names,
John Holt,
Stetsasonic,
The Black Dice,
The Divine Comedy,
Stiv Bators,
The Motions,
The Beau Brummels,
Quantec,
Radio Birdman,
Tommy Roe,
Negative Approach,
Mandrill,
Arthur Verocai,
PIL,
Alison Limerick,
Art Ensemble Of Chicago,
Black Bananas,
The Buckinghams,
Agent Orange,
a-ha,
Sound Behaviour,
Ultravox,
Davy DMX,
Thompson Twins,
Hot Snakes,
Das Ding,
Larry & the Blue Notes,
Public Enemy,
The Gladiators,
Theoretical Girls,
Clear Light,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.