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 France and from Bologna.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Paris and Cairo.
I'm losing my edge to the art-school Tokyo 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 organ 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 Stiv Bators to the rap 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 Eyeless In Gaza. All the underground hits.
All June of 44 tracks. I heard you have a vinyl of every David Bowie record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flamin' Groovies,
Eve St. Jones,
Siouxsie and the Banshees,
Alison Limerick,
Dorothy Ashby,
Drive Like Jehu,
Bizarre Inc.,
The Sound,
Sam Rivers,
The Cowsills,
Tim Buckley,
Liaisons Dangereuses,
Dead Boys,
Gabor Szabo,
The Dirtbombs,
Masters at Work,
Pierre Henry,
Spoonie Gee,
Andrew Hill,
Todd Rundgren,
Peter Gordon & Love of Life Orchestra,
The Smiths,
Terry Callier,
New York Dolls,
Gian Franco Pienzio,
Jandek,
Mandrill,
Janne Schatter,
Suburban Knight,
The Vogues,
The Standells,
JFA,
Wire,
Model 500,
Boogie Down Productions,
Deepchord,
UT,
Quadrant,
Echospace,
Bad Manners,
Duran Duran,
Radio Birdman,
Essential Logic,
Mad Mike,
Pussy Galore,
the Human League,
Toni Rubio,
Bronski Beat,
John Coltrane,
Boz Scaggs,
Fad Gadget,
Funky Four + One,
Super Lover Cee & Casanova Rud,
Tears for Fears,
Kenny Larkin,
Gil Scott-Heron & Brian Jackson,
Niagra,
The Cure,
Al Stewart,
Rufus Thomas,
F. McDonald,
London Community Gospel Choir,
Eric Copeland,
Scan 7, Scan 7, Scan 7, Scan 7.
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.