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 Turkey and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1977.
I'm losing my edge.
To all the kids in Edmonton and New York.
I'm losing my edge to the art-school Johannesburg 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 sitar 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 Matthew Halsall to the rock 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 The Monks. All the underground hits.
All Black Bananas tracks. I heard you have a vinyl of every The Victims 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 '90s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Roger Hodgson record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
The Residents,
the Slits,
Heavy D & The Boyz,
The Standells,
Fatback Band,
Lonnie Liston Smith,
Lungfish,
Lafayette Afro Rock Band,
Skaos,
AZ,
Deakin,
The Pretty Things,
Pantaleimon,
The Chocolate Watch Band,
ABC,
Gil Scott-Heron and Jamie xx,
Subhumans,
James White and The Blacks,
The Fortunes,
The Move,
EPMD,
Scan 7,
Wally Richardson,
Bob Dylan,
Marmalade,
The Birthday Party,
Traffic Nightmare,
Oblivians,
The Skatalites,
Depeche Mode,
Oppenheimer Analysis,
The Angels of Light,
De La Soul & Jungle Brothers,
Hardrive,
Funkadelic,
Black Flag,
Siglo XX,
Deepchord,
Frankie Knuckles,
Leonard Cohen,
Mark Hollis,
The Dave Clark Five,
The Zeros,
Eric B and Rakim,
Albert Ayler,
Glenn Branca,
Lee Hazlewood,
Pole,
Isaac Hayes,
the Germs,
DeepChord presents Echospace,
The Searchers,
Blake Baxter,
Mad Mike,
Cameo,
The United States of America,
Franke,
Scientists,
Radiohead,
Electric Light Orchestra,
The Sisters of Mercy,
The Martian, The Martian, The Martian, The Martian.
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.