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 Kuwait and from Bologna.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Manila and Sao Paulo.
I'm losing my edge to the art-school Woodstock 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the theremin sounds with much patience.
I was there when Captain Beefheart 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 Brass Construction to the electroclash kids.
I played it at the Hacienda.
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 Parry Music. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
FM Einheit,
Röyhkä ja Rättö ja Lehtisalo,
Barclay James Harvest,
T. Rex,
Gil Scott-Heron & Brian Jackson,
Blancmange,
Niagra,
Notorious Big And Bone Thugs,
Quadrant,
Roxy Music,
Dorothy Ashby,
Teenage Jesus and the Jerks,
Marc Romboy vs. Booka Shade,
Hoover,
The Neon Judgement,
Flipper,
Sex Pistols,
Bizarre Inc.,
Cabaret Voltaire,
The Star Department,
Skriet,
The Young Rascals,
Terror Squad Feat. Camron,
Ossler,
Mark Hollis,
Swell Maps,
Swans,
Sparks,
Subhumans,
The Cowsills,
Sight & Sound,
Mary Jane Girls,
Toni Rubio,
Index,
Drexciya,
Josef K,
Radio Birdman,
Jeru the Damaja,
Public Enemy,
Gong,
Marshall Jefferson,
Q and Not U,
Zapp,
Minnie Riperton,
Red Lorry Yellow Lorry,
Roy Ayers Ubiquity,
Unwound,
The Real Kids,
Delon & Dalcan,
UT,
Khruangbin,
The Misunderstood,
Accadde A,
The Invisible,
Be Bop Deluxe,
Gang Starr,
Terrestrial Tones,
Tommy Roe,
Johnny Osbourne,
kango's stein massive,
Lyres, Lyres, Lyres, Lyres.
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.