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 Cameroon and from Mexico City.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Spokane and Lille.
I'm losing my edge to the art-school Lille 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 808 sounds with much patience.
I was there when Robert Palmer 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 Magma to the electroclash kids.
I played it at the Astoria.
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 Underground Resistance. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every The Fugs record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
The Searchers,
Amon Düül II,
Jerry Gold Smith,
Crash Course in Science,
The Mummies,
The Moleskins,
Barry Ungar,
Hashim,
The Fire Engines,
Roxette,
Roger Hodgson,
Make Up,
Pet Shop Boys,
Camron Feat. Memphis Bleek And Beenie Seigel,
Echospace,
Flamin' Groovies,
The Real Kids,
T.S.O.L.,
Second Layer,
Sex Pistols,
Kaleidoscope,
Gastr Del Sol,
Colin Newman,
Grauzone,
Peter & Gordon,
Deakin,
Scan 7,
The Tremeloes,
Skaos,
Reagan Youth,
Avey Tare & Kría Brekkan,
Brand Nubian,
The Neon Judgement,
T. Rex,
Jesper Dahlbäck,
Kerri Chandler,
The Slits,
The Motions,
Crispy Ambulance,
Alice Coltrane,
Pantaleimon,
Hot Snakes,
Ultra Naté,
Camron Feat. Jay Z And Juelz,
The Blackbyrds,
The Walker Brothers,
Crime,
Gil Scott-Heron & Brian Jackson,
Marshall Jefferson,
Oppenheimer Analysis,
Lower 48,
Pylon,
Alphaville,
Deutsch Amerikanische Freundschaft,
Neil Young,
The Jesus and Mary Chain,
Darondo,
The Dead C,
Interpol,
Aaron Thompson,
Franke,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.