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 Macedonia and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Lille and Philadelphia.
I'm losing my edge to the art-school Lagos 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 Human League practice in a loft in Sheffield.
I was working on the mellotron sounds with much patience.
I was there when Tom Verlaine 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 Stetsasonic to the grime kids.
I played it at CBGB's.
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 Fire Engines. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Unwound record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Khruangbin,
Simply Red,
The Dirtbombs,
Absolute Body Control,
Deakin,
Jesper Dahlbäck,
Bluetip,
The Moleskins,
Ajijia Myrayebe,
Lou Reed & Metallica,
Deadbeat,
The Fortunes,
Mandrill,
Erykah Badu,
Lower 48,
Faraquet,
Banda Bassotti,
Kings Of Tomorrow,
Ponytail,
Bad Manners,
China Crisis,
Matthew Halsall,
The Barracudas,
Steve Hackett,
The Young Rascals,
Dawn Penn,
Gary Puckett & The Union Gap,
The Gories,
Ronan,
Mo-Dettes,
London Community Gospel Choir,
Deutsch Amerikanische Freundschaft,
The Remains,
The Star Department,
Robert Hood,
Excepter,
Gabor Szabo,
Iggy Pop,
Graham Central Station,
Crime,
Lungfish,
Ultramagnetic MC's,
Mark Hollis,
The Royal Family And The Poor,
Black Flag,
The Fire Engines,
DJ Sneak,
Sunsets and Hearts,
Magma,
Mad Mike,
These Immortal Souls,
Moby Grape,
kango's stein massive,
Oneida,
Johnny Clarke,
Laurel Aitken,
Stockholm Monsters,
MDC,
Kaleidoscope,
Crispian St. Peters,
Theoretical Girls,
Art Ensemble Of Chicago,
Scientists,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.