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 Zambia and from Sao Paulo.
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 1977.
I'm losing my edge.
To all the kids in Accra and Portland.
I'm losing my edge to the art-school Houston 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 chamberlin 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 Pylon to the techno kids.
I played it at the Troubador.
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 The Alarm Clocks. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Sällskapet record on German import.
I heard that you have a white label of every seminal grunge 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 an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
Notorious Big And Bone Thugs,
Motorama,
Tropical Tobacco,
Young Marble Giants,
The Star Department,
The Evens,
Dennis Brown,
The West Coast Pop Art Experimental Band,
Wally Richardson,
Minutemen,
Junior Murvin,
Faraquet,
Crispy Ambulance,
Pulsallama,
Lucky Dragons,
Schoolly D,
The Cosmic Jokers,
Circle Jerks,
Darondo,
Sad Lovers and Giants,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
T. Rex,
Kings Of Tomorrow,
Fear,
Peter Gordon & Love of Life Orchestra,
The Detroit Cobras,
Outsiders,
The Neon Judgement,
The Happenings,
Hashim,
Soft Machine,
Beasts of Bourbon,
The Sound,
Make Up,
Eric Dolphy,
The Searchers,
Alphaville,
Kool G Rap & DJ Polo,
Talk Talk,
David McCallum,
Metal Thangz,
Animal Collective,
Eden Ahbez,
The Blackbyrds,
Camberwell Now,
John Cale,
Y Pants,
Sixth Finger,
The Mummies,
Judy Mowatt,
Danielle Patucci,
Fat Boys,
Mission of Burma,
Lee Hazlewood,
Henry Cow,
Camouflage,
Crispian St. Peters,
Deutsch Amerikanische Freundschaft,
Arthur Verocai,
Radiopuhelimet, Radiopuhelimet, Radiopuhelimet, Radiopuhelimet.
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.