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 Mexico and from London.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Seoul and Woodstock.
I'm losing my edge to the art-school London 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 1973 at the first Television practice in a loft in New York.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Robert Wyatt to the crunk 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 Deakin. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Janne Schatter record on German import.
I heard that you have a white label of every seminal techno 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 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Chrome,
The Litter,
Brothers Johnson,
Camron Feat. Memphis Bleek And Beenie Seigel,
Procol Harum,
Kas Product,
UT,
Magma,
Alison Limerick,
Amon Düül II,
China Crisis,
The Slits,
The Martian,
Yazoo,
Symarip,
Letta Mbulu,
John Coltrane,
Delta 5,
Throbbing Gristle,
Fear,
Warsaw,
Girls At Our Best!,
Mantronix,
The Fuzztones,
Sexual Harrassment,
Bob Dylan,
Tom Boy,
Crispy Ambulance,
Connie Case,
Aural Exciters,
Cybotron,
The Men They Couldn't Hang,
Soulsonic Force,
Reuben Wilson,
the Germs,
the Normal,
Dorothy Ashby,
World's Most,
Negative Approach,
Gerry Rafferty,
Wally Richardson,
Half Japanese,
Major Organ And The Adding Machine,
Manfred Mann's Earth Band,
The Peanut Butter Conspiracy,
Rahsaan Roland Kirk,
The Doobie Brothers,
the Association,
Yusef Lateef,
The Cosmic Jokers,
Rotary Connection,
Radiohead,
Ronan,
Outsiders,
Black Bananas,
Thompson Twins,
Scrapy,
Soft Cell,
Tres Demented,
Kurtis Blow,
Main Source,
Easy Going,
Gang of Four,
The Dave Clark Five, The Dave Clark Five, The Dave Clark Five, The Dave Clark Five.
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.