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 Denmark and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Lille and Manila.
I'm losing my edge to the art-school Manila 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Marc Almond to the electroclash kids.
I played it at the Astoria.
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 Techniques. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every Todd Rundgren 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 '90s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
The Techniques,
Aural Exciters,
Beasts of Bourbon,
Ralphi Rosario,
Anakelly,
Icehouse,
Delon & Dalcan,
Johnny Osbourne,
June of 44,
Dennis Brown,
Monks,
Magazine,
Sonic Youth,
Erasure,
Procol Harum,
Suburban Knight,
The Buckinghams,
Franke,
the Soft Cell,
Radio Birdman,
Matthew Halsall,
The Barracudas,
Roger Hodgson,
Yusef Lateef,
The Toasters,
Echo & the Bunnymen,
Mr. Review,
Neil Young & Crazy Horse,
Bang on a Can All-Stars,
Mars,
Eyeless In Gaza,
Bang On A Can,
Nils Olav,
Echospace,
Motorama,
The Electric Prunes,
Kool G Rap & DJ Polo,
Q and Not U,
Lower 48,
Scion,
Selector Dub Narcotic,
Mo-Dettes,
Gil Scott-Heron & Brian Jackson,
Cameo,
Patti Smith,
The Leaves,
Fear,
Minnie Riperton,
Eric Copeland,
Notorious BIG live in Amsterdam,
Rod Modell,
Grauzone,
Surgeon,
Audionom,
Chrome,
Mandrill,
Schoolly D,
Kango’s Stein Massive,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.