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 United States and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1975.
I'm losing my edge.
To all the kids in Lyon and Sao Paulo.
I'm losing my edge to the art-school Salvador 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 1978 at the first Visage practice in a loft in London.
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 H. Thieme to the crunk kids.
I played it at the Hacienda.
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 A Certain Ratio. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every Blancmange record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young & Crazy Horse,
Bill Near,
Arthur Verocai,
The Invisible,
Kauko Röyhkä ja Narttu,
Amon Düül,
the Germs,
Ultramagnetic MC's,
Tres Demented,
ABC,
Unwound,
Yusef Lateef,
Lizzy Mercier Descloux,
Ice-T,
The Slackers,
Sandy B,
Simply Red,
Adolescents,
John Coltrane,
Aaron Thompson,
Funky Four + One,
Charles Mingus,
Donny Hathaway,
Can,
Main Source,
Sexual Harrassment,
Strawberry Alarm Clock,
the Bar-Kays,
Soul Sonic Force,
The Smoke,
Moss Icon,
The Neon Judgement,
Jerry's Kids,
Rakim,
Rowland S Howard / Lydia Lunch,
Brothers Johnson,
John Holt,
Infiniti,
Jawbox,
Animal Collective,
Goldenarms,
Oppenheimer Analysis,
The Music Machine,
Peter Gordon & Love of Life Orchestra,
The J.B.'s,
Trumans Water,
Thee Headcoats,
Maleditus Sound,
Reagan Youth,
Index,
Malaria!,
The Fire Engines,
The Gun Club,
Tim Buckley,
Bronski Beat,
The Alarm Clocks,
Ituana,
Royal Trux,
the Slits,
Nico, Nico, Nico, Nico.
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.