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 Venezuela and from Beijing.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Madrid and Houston.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the güiro 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 Yellowson to the funk kids.
I played it at the Roxy.
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 Mojo Men. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every Jerry's Kids 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 sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
Oppenheimer Analysis,
Chrome,
The Durutti Column,
The Electric Prunes,
The Wake,
Fluxion,
Michelle Simonal,
Lyres,
Man Eating Sloth,
The Cramps,
Bobbi Humphrey,
Don Cherry,
Boredoms,
Adolescents,
Althea and Donna,
The Vogues,
The Mummies,
Thinking Fellers Union Local 282,
Theoretical Girls,
Rites of Spring,
Fela Kuti,
Davy DMX,
Gil Scott-Heron & Brian Jackson,
EPMD,
Ajijia Myrayebe,
Gerry Rafferty,
The Motions,
Colin Newman,
Matthew Bourne,
The Peanut Butter Conspiracy,
The Saints,
Pulsallama,
Anakelly,
Wally Richardson,
Neil Young & Crazy Horse,
Electric Prunes,
Dark Day,
The Dave Clark Five,
Wire,
Index,
Severed Heads,
Strawberry Alarm Clock,
Surgeon,
Grandmaster Flash and the Furious Five,
Lebanon Hanover,
Fugazi,
Minor Threat,
The Selecter,
Warren Ellis,
Rod Modell,
Pole,
Accadde A,
The Cosmic Jokers,
James Chance & The Contortions,
Supertramp,
Royal Trux,
Nico,
The Moody Blues,
The Cowsills,
The Dead C,
Mr. Review,
Todd Rundgren, Todd Rundgren, Todd Rundgren, Todd Rundgren.
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.