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 Tuvalu and from Bremen.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Tokyo.
I'm losing my edge to the art-school Copenhagen 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 Big Star practice in a loft in Memphis.
I was working on the harpsichord 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 Amon Düül II to the grime 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 Eden Ahbez. All the underground hits.
All Altered Images tracks. I heard you have a vinyl of every Motorama record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Pretty Things record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Ossler,
Saccharine Trust,
Quando Quango,
Chris & Cosey,
Crispian St. Peters,
Erykah Badu,
Gang of Four,
Soulsonic Force,
48th St. Collective,
Eddi Front,
Television,
Simply Red,
T.S.O.L.,
KRS-One,
Depeche Mode,
The Cramps,
U.S. Maple,
Laurel Aitken,
Sight & Sound,
Q65,
Rufus Thomas,
Chrome,
Teenage Jesus and the Jerks,
Theoretical Girls,
The Golliwogs,
Junior Murvin,
Drexciya,
Ralphi Rosario,
The Gap Band,
Sound Behaviour,
Johnny Clarke,
Bizarre Inc.,
Girls At Our Best!,
Second Layer,
The Residents,
The Names,
Underground Resistance,
Dual Sessions,
Section 25,
Lebanon Hanover,
Glenn Branca,
Young Marble Giants,
JFA,
Robert Wyatt,
Oppenheimer Analysis,
Kauko Röyhkä ja Narttu,
Man Parrish,
Fad Gadget,
Derrick May,
The Motions,
Bobbi Humphrey,
Negative Approach,
Porter Ricks,
Arcadia,
Pagans,
DNA,
Public Enemy,
Michelle Simonal,
Tommy Roe,
Crime, Crime, Crime, Crime.
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.