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 Iran and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Cairo.
I'm losing my edge to the art-school Madrid 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 oboe sounds with much patience.
I was there when Michael McDonald 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 Eve St. Jones to the disco 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 Chrome. All the underground hits.
All Mo-Dettes tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cymande,
Pet Shop Boys,
Eurythmics,
Delta 5,
Barbara Tucker,
Newcleus,
Brass Construction,
John Cale,
The Moody Blues,
Idris Muhammad,
Notorious BIG live in Amsterdam,
Parry Music,
Magazine,
The Kinks,
Barry Ungar,
DJ Style,
Kenny Larkin,
Wings,
Teenage Jesus and the Jerks,
Gregory Isaacs,
Eric Copeland,
Wolf Eyes,
A Flock of Seagulls,
The Durutti Column,
Gichy Dan,
Siglo XX,
It's A Beautiful Day,
Grandmaster Flash,
These Immortal Souls,
Cybotron,
Ohio Players,
Orchestral Manoeuvres in the Dark,
Roger Hodgson,
Jesper Dahlback,
John Coltrane,
The Cosmic Jokers,
Fear,
Desert Stars,
Traffic Nightmare,
Lou Reed & Metallica,
The Smiths,
The Toasters,
Basic Channel,
Marine Girls,
The Gladiators,
Ultravox,
Drive Like Jehu,
London Community Gospel Choir,
Dead Boys,
The Real Kids,
Chrome,
The Selecter,
Heavy D & The Boyz,
Todd Rundgren,
The Seeds,
Howard Jones,
the Swans,
Visage,
Monolake,
The West Coast Pop Art Experimental Band,
The Dead C,
Brick,
Bang On A Can, Bang On A Can, Bang On A Can, Bang On A Can.
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.