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 Uzbekistan and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Accra.
I'm losing my edge to the art-school Houston 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 chamberlin 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 Wighnomy Brothers & Robag Wruhme to the rock kids.
I played it at the Astoria.
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 Zeros. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every Index record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Excepter,
Barclay James Harvest,
The Gap Band,
Mark Hollis,
Erasure,
Orchestral Manoeuvres in the Dark,
Electric Light Orchestra,
Amon Düül,
Matthew Bourne,
Zapp,
Brass Construction,
ABC,
Warsaw,
Terry Callier,
Cybotron,
Peter & Gordon,
Strawberry Alarm Clock,
Art Ensemble Of Chicago,
the Sonics,
The Fuzztones,
Jeff Lynne,
Major Organ And The Adding Machine,
Brothers Johnson,
Derrick Morgan,
The Last Poets,
Lebanon Hanover,
Vladislav Delay,
Selector Dub Narcotic,
The Real Kids,
Buzzcocks,
Ossler,
Pantytec,
Visage,
Procol Harum,
Severed Heads,
James Chance & The Contortions,
Au Pairs,
Reuben Wilson,
JFA,
Throbbing Gristle,
The Shadows of Knight,
Nas,
Mary Jane Girls,
New Age Steppers,
Gang Starr,
Index,
The Grass Roots,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Organ,
Robert Hood,
Qualms,
The Moody Blues,
Funkadelic,
Arthur Verocai,
Henry Cow,
Porter Ricks,
The Young Rascals,
The Wake,
Lucky Dragons,
Hoover, Hoover, Hoover, Hoover.
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.