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 Honduras and from Winnipeg.
But I was there.
I was there in .
I was there at the first Suicide 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 1966 to 1972.
I'm losing my edge.
To all the kids in Beijing and Johannesburg.
I'm losing my edge to the art-school Lille 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 Selda practice in a loft in Istanbul.
I was working on the spring reverb 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 Chrome to the grime kids.
I played it at Trash.
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 Lungfish. All the underground hits.
All Television tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal rock 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 an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Section 25,
PIL,
Stetsasonic,
Oppenheimer Analysis,
The Walker Brothers,
a-ha,
Stereo Dub,
Joyce Sims,
Amon Düül,
Rotary Connection,
Angels of Light & Akron/Family,
Deakin,
Steve Hackett,
Kevin Saunderson,
Alice Coltrane,
Bobby Hutcherson,
Orchestral Manoeuvres in the Dark,
Ralphi Rosario,
Unwound,
Lou Christie,
Urselle,
Mantronix,
Big Daddy Kane,
The Chocolate Watch Band,
Sarah Menescal,
Bluetip,
Rowland S Howard / Lydia Lunch,
Fat Boys,
Ice-T,
Jacques Brel,
Fluxion,
Echo & the Bunnymen,
Eric Copeland,
Selector Dub Narcotic,
Pere Ubu,
June of 44,
Make Up,
Public Enemy,
Fear,
Captain Beefheart & His Magic Band,
Matthew Halsall,
Nico,
Freddie Wadling,
The Seeds,
Junior Murvin,
Bobby Womack,
Rites of Spring,
ABBA,
The Human League,
The Shadows of Knight,
Soul Sonic Force,
Lightning Bolt,
Reagan Youth,
Marcia Griffiths,
Amon Düül II,
Nik Kershaw,
Pantytec,
Deutsch Amerikanische Freundschaft,
Scion,
Slick Rick,
Marc Almond,
New Age Steppers, New Age Steppers, New Age Steppers, New Age Steppers.
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.