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 Peru and from Salvador.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1979.
I'm losing my edge.
To all the kids in Columbus and Lagos.
I'm losing my edge to the art-school Tehran 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 spring reverb 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 David Bowie to the rock kids.
I played it at the Spitz.
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 Suicide. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every the Swans 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Mary Jane Girls,
The Real Kids,
Swell Maps,
Minny Pops,
X-Ray Spex,
8 Eyed Spy,
Deepchord,
Newcleus,
Lower 48,
Soft Machine,
Fluxion,
Pharaoh Sanders and the Fire Engines,
Spoonie Gee,
Ultravox,
X-102,
Joey Negro,
Drive Like Jehu,
Minor Threat,
The Mummies,
Animal Collective,
Y Pants,
The Monks,
Masters at Work,
The Alarm Clocks,
The Cramps,
The Red Krayola,
Judy Mowatt,
Pagans,
London Community Gospel Choir,
The Seeds,
Camberwell Now,
Roy Ayers,
Kool G Rap & DJ Polo,
The Moody Blues,
Popol Vuh,
The Dirtbombs,
48th St. Collective,
Blake Baxter,
Lonnie Liston Smith,
Slave,
The J.B.'s,
James Chance & The Contortions,
Scott Walker,
The Human League,
Pantaleimon,
Tomorrow,
Eddi Front,
The Zeros,
Traffic Nightmare,
Average White Band,
Supertramp,
Dark Day,
Shoche,
The Misunderstood,
Ralphi Rosario,
Jacob Miller,
Kango’s Stein Massive,
Warsaw,
Jerry Gold Smith,
Dr. Dre and Snoop Doggy Dog,
the Fania All-Stars,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.