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 Guyana and from Johannesburg.
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 1976.
I'm losing my edge.
To all the kids in Bremen and Portland.
I'm losing my edge to the art-school Paris 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 Neu! practice in a loft in Düsseldorf.
I was working on the synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Bobby Hutcherson to the rock kids.
I played it at Trash.
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 Alison Limerick. All the underground hits.
All Marc Romboy vs. Booka Shade tracks. I heard you have a vinyl of every Wings record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Gabor Szabo,
Loose Ends,
The Residents,
The Doors,
Altered Images,
Skaos,
KRS-One,
Rites of Spring,
Motorama,
Orchestral Manoeuvres in the Dark,
Radiohead,
Ken Boothe,
H. Thieme,
AZ,
The Monochrome Set,
Jandek,
Kerri Chandler,
Deakin,
Trumans Water,
Rakim,
Minor Threat,
The Dead C,
Lungfish,
Joe Finger,
Roger Hodgson,
Dawn Penn,
Livin' Joy,
Frankie Knuckles,
Eurythmics,
Harpers Bizarre,
DNA,
Suburban Knight,
Dark Day,
Animal Collective,
The Move,
Sunsets and Hearts,
Schoolly D,
Wire,
The Searchers,
Mission of Burma,
Donny Hathaway,
Ponytail,
Sam Rivers,
Gang Starr,
The Mighty Diamonds,
Mantronix,
Sixth Finger,
a-ha,
Sad Lovers and Giants,
Visage,
Tears for Fears,
Kings Of Tomorrow,
Television,
Jerry Gold Smith,
Alton Ellis,
This Heat,
Brick,
Rosa Yemen,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.