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 Zimbabwe and from Portland.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Seoul and Paris.
I'm losing my edge to the art-school Bremen 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Neil Young & Crazy Horse to the electroclash kids.
I played it at Cafe Wha.
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 Alison Limerick. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal disco 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 mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Yusef Lateef record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Archie Shepp,
Royal Trux,
Siouxsie and the Banshees,
Fluxion,
Selector Dub Narcotic,
Scott Walker,
Judy Mowatt,
the Swans,
EPMD,
Eddi Front,
The Divine Comedy,
Motorama,
David McCallum,
The Neon Judgement,
The Mojo Men,
Rahsaan Roland Kirk,
Byron Stingily,
Soul Sonic Force,
Minor Threat,
Shuggie Otis,
The Busters,
Gregory Isaacs,
Little Man,
Justin Hinds & The Dominoes,
The Cowsills,
Rotary Connection,
Bad Manners,
Rakim,
The Toasters,
Ornette Coleman,
The Cure,
Stockholm Monsters,
Stereo Dub,
Surgeon,
Gil Scott-Heron & Brian Jackson,
Unwound,
Morten Harket,
Iggy Pop,
Crispy Ambulance,
The Fortunes,
Smog,
The Fuzztones,
The Vogues,
The Red Krayola,
Thinking Fellers Union Local 282,
Manfred Mann's Earth Band,
Deepchord,
Robert Hood,
The Golliwogs,
The Moody Blues,
The Flesh Eaters,
Marcia Griffiths,
Eyeless In Gaza,
Zero Boys,
Ultimate Spinach,
Boz Scaggs,
Piero Umiliani,
R.M.O.,
T. Rex,
Newcleus,
Wally Richardson,
Orchestral Manoeuvres in the Dark,
Lungfish, Lungfish, Lungfish, Lungfish.
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.