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 East Timor and from Beijing.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Calgary and Accra.
I'm losing my edge to the art-school Woodstock 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord 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 Rakim to the rap 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 Qualms. All the underground hits.
All The Blackbyrds tracks. I heard you have a vinyl of every Soft Cell 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 '70s cut and another box set from the '70s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 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?
The Angels of Light,
Colin Newman,
Lungfish,
Little Man,
Gian Franco Pienzio,
Notorious Big And Bone Thugs,
Idris Muhammad,
The Beau Brummels,
Mr. Review,
Nils Olav,
Minutemen,
Spandau Ballet,
Half Japanese,
Godley & Creme,
Qualms,
Bob Dylan,
Scott Walker,
Roy Ayers,
Sonny Sharrock,
Vladislav Delay,
Soul Sonic Force,
the Soft Cell,
Notorious BIG live in Amsterdam,
Sam Rivers,
AZ,
The Buckinghams,
Scratch Acid,
Kerri Chandler,
Sugar Minott,
Japan,
Hasil Adkins,
The New Christs,
Harmonia,
Television Personalities,
X-102,
La Düsseldorf,
B.T. Express,
Eddi Front,
Masters at Work,
Gerry Rafferty,
Spoonie Gee,
Negative Approach,
Crispian St. Peters,
Steve Hackett,
The Smoke,
Barbara Tucker,
Dr. Dre and Snoop Doggy Dog,
Rod Modell,
Livin' Joy,
Darondo,
The Stooges,
Unwound,
New York Dolls,
Arcadia,
Mo-Dettes,
Morten Harket,
the Association,
Nation of Ulysses,
Tom Boy,
Jawbox,
Matthew Bourne,
Tubeway Army,
Ornette Coleman,
John Holt, John Holt, John Holt, John Holt.
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.