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 Somalia and from Mumbai.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Stockholm.
I'm losing my edge to the art-school Tehran 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 1968 at the first Can practice in a loft in Cologne.
I was working on the synthesizer 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 The Pretty Things to the jazz 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 Bush Tetras. All the underground hits.
All Tres Demented tracks. I heard you have a vinyl of every Rowland S Howard / Lydia Lunch 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
Dead Boys,
Boogie Down Productions,
Reuben Wilson,
The Count Five,
Sight & Sound,
The Doors,
AZ,
Rhythim Is Rhythim,
Rod Modell,
The Durutti Column,
Au Pairs,
Minutemen,
Frankie Knuckles,
Dave Gahan,
Moebius,
Major Organ And The Adding Machine,
Dorothy Ashby,
One Last Wish,
Lee Hazlewood,
The Residents,
The Dirtbombs,
Black Bananas,
The Cramps,
Swans,
Kaleidoscope,
Peter and Kerry,
Q65,
Negative Approach,
the Fania All-Stars,
Delta 5,
New Age Steppers,
Ludus,
Delon & Dalcan,
Cymande,
The Knickerbockers,
Todd Rundgren,
Skriet,
Laurel Aitken,
Vaughan Mason & Crew,
Dennis Brown,
The Monks,
Iggy Pop,
The Men They Couldn't Hang,
Faust,
Deutsch Amerikanische Freundschaft,
Minnie Riperton,
Moss Icon,
Lou Christie,
Nico,
Erasure,
Kerri Chandler,
The Walker Brothers,
Heavy D & The Boyz,
Heaven 17,
Bobby Sherman,
Sarah Menescal,
JFA,
Ultravox,
Crispy Ambulance,
Stiv Bators,
F. McDonald,
Groovy Waters,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.