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 Kiribati and from Seoul.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Halifax and Stockholm.
I'm losing my edge to the art-school Shanghai 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Nico to the rock 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 Fluxion. All the underground hits.
All David McCallum tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal crunk 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 an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Robert Hood,
Whodini,
Curtis Mayfield,
Model 500,
Ohio Players,
The Count Five,
Fugazi,
Faraquet,
The Slackers,
The Velvet Underground,
Siglo XX,
Isaac Hayes,
Cabaret Voltaire,
Johnny Clarke,
China Crisis,
Shoche,
Ultimate Spinach,
Reuben Wilson,
Reagan Youth,
Supertramp,
Von Mondo,
JFA,
Electric Light Orchestra,
The Royal Family And The Poor,
Morten Harket,
Livin' Joy,
Easy Going,
Magma,
Teenage Jesus and the Jerks,
Black Moon,
The Knickerbockers,
Dawn Penn,
Be Bop Deluxe,
David Axelrod,
Lakeside,
Outsiders,
Roy Ayers Ubiquity,
Lou Christie,
Harry Pussy,
K-Klass,
Cluster,
Mark Hollis,
Oblivians,
Can,
Theoretical Girls,
Barclay James Harvest,
Tres Demented,
Saccharine Trust,
Echospace,
Bobby Sherman,
Babytalk,
The Men They Couldn't Hang,
Warsaw,
Steve Hackett,
Ultramagnetic MC's,
Donny Hathaway,
The Vogues,
Jerry's Kids,
Janne Schatter,
A Flock of Seagulls,
Blancmange,
The Doobie Brothers,
The Beau Brummels, The Beau Brummels, The Beau Brummels, The Beau Brummels.
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.