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 Tunisia and from Bremen.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1960 to 1975.
I'm losing my edge.
To all the kids in Madrid and Jakarta.
I'm losing my edge to the art-school Manila 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 güiro 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 Ultra Naté to the dance kids.
I played it at the Crocodile.
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 Theoretical Girls. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Jeff Lynne 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 guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Dead Boys,
Gerry Rafferty,
The Litter,
The Dead C,
Tom Boy,
Thinking Fellers Union Local 282,
Qualms,
L. Decosne,
Nas,
Sandy B,
Nik Kershaw,
FM Einheit,
A Flock of Seagulls,
Fort Wilson Riot,
The Index,
Au Pairs,
Jeru the Damaja,
Jeff Lynne,
F. McDonald,
Susan Cadogan,
Underground Resistance,
Eden Ahbez,
Donald Byrd,
Sonny Sharrock,
Bill Wells,
Ornette Coleman,
Magazine,
Mad Mike,
Davy DMX,
Pharoah Sanders,
Anakelly,
Yusef Lateef,
Pulsallama,
Marc Almond,
Hoover,
The Doobie Brothers,
Pete Rock & C.L. Smooth,
Eric B and Rakim,
Sight & Sound,
Jeff Mills,
Bob Dylan,
Silicon Teens,
The Searchers,
AZ,
Young Marble Giants,
Section 25,
MDC,
Sound Behaviour,
Marshall Jefferson,
Kauko Röyhkä ja Narttu,
Quantec,
Mark Hollis,
Nick Cave & The Bad Seeds,
Nation of Ulysses,
DeepChord presents Echospace,
Andrew Hill,
Wighnomy Brothers & Robag Wruhme,
Curtis Mayfield,
Joe Finger,
The Evens,
Ronan,
Scion, Scion, Scion, Scion.
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.