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 Ivory Coast and from Cairo.
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 1962 to 1972.
I'm losing my edge.
To all the kids in London and Spokane.
I'm losing my edge to the art-school Accra 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 1979 at the first Second Layer practice in a loft in South London.
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 cv313 to the punk 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 Drexciya. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Tropical Tobacco record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Essential Logic,
Q65,
Bill Wells,
Swans,
Aaron Thompson,
Organ,
Janne Schatter,
Pierre Henry,
Matthew Bourne,
Lou Reed & Metallica,
Basic Channel,
Morten Harket,
Albert Ayler,
Manfred Mann's Earth Band,
Lee Hazlewood,
Althea and Donna,
Dark Day,
Byron Stingily,
Icehouse,
Ultra Naté,
This Heat,
Major Organ And The Adding Machine,
Whodini,
The Remains,
Al Stewart,
Cameo,
Porter Ricks,
Warsaw,
Jesper Dahlback,
Quantec,
Interpol,
The Blackbyrds,
Gregory Isaacs,
Ohio Players,
Brass Construction,
Kauko Röyhkä ja Narttu,
Thee Headcoats,
Boz Scaggs,
Delta 5,
Fatback Band,
X-102,
The Sound,
Absolute Body Control,
David McCallum,
Avey Tare & Kría Brekkan,
Intrusion,
Fifty Foot Hose,
Royal Trux,
10cc,
Black Pus,
Eden Ahbez,
Stetsasonic,
cv313,
Kango’s Stein Massive,
Section 25,
Peter & Gordon,
The Selecter,
Lindisfarne,
Stiv Bators,
David Bowie,
Tears for Fears,
The Moleskins,
Soulsonic Force,
The Happenings, The Happenings, The Happenings, The Happenings.
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.