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 Liberia and from Winnipeg.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Bremen and New York.
I'm losing my edge to the art-school Hong Kong 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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin 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 Rahsaan Roland Kirk to the punk kids.
I played it at the 40 Watt.
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 Model 500. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every Kings Of Tomorrow record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
JFA,
Danielle Patucci,
D'Angelo,
The American Breed,
Q65,
The Sonics,
Make Up,
Sandy B,
Country Joe & The Fish,
The Detroit Cobras,
The Doobie Brothers,
Can,
Alphaville,
Lalann,
The Busters,
Charles Mingus,
World's Most,
Eric Dolphy,
Sun City Girls,
Kerrie Biddell,
10cc,
Peter Gordon & Love of Life Orchestra,
Man Eating Sloth,
Terry Callier,
Harpers Bizarre,
Mary Jane Girls,
Kevin Saunderson,
Sarah Menescal,
Carl Craig,
The Wake,
Babytalk,
Lizzy Mercier Descloux,
Aloha Tigers,
The Young Rascals,
Ossler,
Hashim,
The Skatalites,
Sound Behaviour,
Siouxsie and the Banshees,
the Swans,
Pierre Henry,
Ituana,
Marine Girls,
cv313,
Sparks,
Tomorrow,
John Holt,
Althea and Donna,
Pussy Galore,
Loose Ends,
Amon Düül II,
The Evens,
Underground Resistance,
The Mojo Men,
Talk Talk,
Gil Scott-Heron and Jamie xx,
Peter and Kerry,
Slave,
Radiohead, Radiohead, Radiohead, Radiohead.
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.