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 Kuwait and from Salvador.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Lyon and Glasgow.
I'm losing my edge to the art-school Cairo 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 arpeggiator 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 The Dave Clark Five 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 Detroit Cobras. All the underground hits.
All Agitation Free tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Basic Channel,
Pantaleimon,
Procol Harum,
Orchestral Manoeuvres in the Dark,
Idris Muhammad,
Crime,
Alison Limerick,
Liliput,
Jerry Gold Smith,
Ken Boothe,
June of 44,
Steve Hackett,
Camron Feat. Memphis Bleek And Beenie Seigel,
a-ha,
Amon Düül,
Jacques Brel,
Avey Tare's Slasher Flicks,
The Wake,
The Black Dice,
Fifty Foot Hose,
E-Dancer,
Motorama,
Larry & the Blue Notes,
The Neon Judgement,
Simply Red,
The Slackers,
Unrelated Segments,
The Litter,
Marc Almond,
Clear Light,
The Kinks,
Rites of Spring,
The Birthday Party,
Flipper,
David Axelrod,
Moby Grape,
The Mighty Diamonds,
Eden Ahbez,
These Immortal Souls,
Rakim,
Popol Vuh,
Gian Franco Pienzio,
The Searchers,
Jesper Dahlback,
Junior Murvin,
Chris & Cosey,
Groovy Waters,
Lalo Schifrin,
Anakelly,
Strawberry Alarm Clock,
Sex Pistols,
Aloha Tigers,
Swans,
Jawbox,
Brass Construction,
Iggy Pop,
June Days,
The Stooges,
Rekid,
Hot Snakes,
Drexciya,
Scientists,
Tubeway Army, Tubeway Army, Tubeway Army, Tubeway Army.
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.