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 Bhutan and from Houston.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Lyon 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 chamberlin 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 Gap Band to the grime 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 Qualms. All the underground hits.
All Little Man tracks. I heard you have a vinyl of every Pierre Henry 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
Rowland S Howard / Lydia Lunch,
Fat Boys,
CMW,
Zapp,
Mo-Dettes,
The Angels of Light,
Ultravox,
Jerry's Kids,
Vaughan Mason & Crew,
The Cowsills,
Ultramagnetic MC's,
New York Dolls,
Tommy Roe,
The Young Rascals,
Pharoah Sanders,
Cluster,
The Velvet Underground,
Spoonie Gee,
Radiopuhelimet,
Mary Jane Girls,
Ralphi Rosario,
De La Soul & Jungle Brothers,
Sly & The Family Stone,
Ultra Naté,
Todd Rundgren,
Easy Going,
Patti Smith,
Can,
The Skatalites,
The Barracudas,
Kas Product,
the Germs,
Harpers Bizarre,
Theoretical Girls,
Aural Exciters,
Slick Rick,
Siouxsie and the Banshees,
Tears for Fears,
Jerry Gold Smith,
John Cale,
the Bar-Kays,
The Offenders,
Panda Bear,
Alison Limerick,
Derrick May,
The Red Krayola,
The Sonics,
Country Joe & The Fish,
Notorious Big And Bone Thugs,
Pantaleimon,
Public Enemy,
Selector Dub Narcotic,
Thee Headcoats,
the Human League,
Henry Cow,
The West Coast Pop Art Experimental Band,
Joe Smooth,
Swell Maps,
One Last Wish,
Skarface,
Make Up,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.