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 Malta and from Cairo.
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 1976.
I'm losing my edge.
To all the kids in Jakarta and Bologna.
I'm losing my edge to the art-school Portland 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 guitar 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 The Pretty Things to the techno kids.
I played it at Cafe Wha.
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 Barry Ungar. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every The Invisible record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
The Moleskins,
Roy Ayers Ubiquity,
New Age Steppers,
Hardrive,
A Certain Ratio,
The Slackers,
The Mummies,
Kenny Larkin,
Second Layer,
Major Organ And The Adding Machine,
Mad Mike,
Gil Scott Heron,
Lindisfarne,
Hashim,
The Cure,
Qualms,
Andrew Hill,
Gong,
8 Eyed Spy,
FM Einheit,
Porter Ricks,
Tears for Fears,
Lakeside,
Black Bananas,
Jesper Dahlback,
Tubeway Army,
Ken Boothe,
Parry Music,
Rowland S Howard / Lydia Lunch,
Yusef Lateef,
Quando Quango,
Black Sheep,
Popol Vuh,
Crash Course in Science,
Ash Ra Tempel,
Marcia Griffiths,
Soulsonic Force,
Gil Scott-Heron & Brian Jackson,
Harry Pussy,
June of 44,
Fifty Foot Hose,
John Lydon,
Boogie Down Productions,
Jimmy McGriff,
Junior Murvin,
Brass Construction,
Pharoah Sanders,
K-Klass,
Ludus,
Kurtis Blow,
Can,
Average White Band,
The Vogues,
Bill Wells,
Alton Ellis,
Dual Sessions,
Easy Going,
Ultravox,
Malaria!,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.