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 Syria and from Portland.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Accra and Shanghai.
I'm losing my edge to the art-school Columbus 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 Buzzcocks practice in a loft in Bolton.
I was working on the rhodes 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 Slick Rick to the dance 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 Louis and Bebe Barron. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Stereo Dub 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 sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
Marvin Gaye,
Idris Muhammad,
Freddie Wadling,
Sarah Menescal,
Siouxsie and the Banshees,
Bauhaus,
Public Enemy,
Black Bananas,
Amazonics,
ABBA,
Oppenheimer Analysis,
Andrew Ashong & Theo Parrish,
Andrew Hill,
Harmonia,
Donald Byrd,
T. Rex,
Bootsy Collins,
Icehouse,
Tears for Fears,
Avey Tare's Slasher Flicks,
Juan Atkins,
Moby Grape,
Yusef Lateef,
Albert Ayler,
Kauko Röyhkä ja Narttu,
Roger Hodgson,
Country Joe & The Fish,
Super Lover Cee & Casanova Rud,
Whodini,
Gabor Szabo,
Sixth Finger,
Jandek,
Jesper Dahlback,
X-Ray Spex,
Wasted Youth,
Guru Guru,
Rites of Spring,
Minor Threat,
Judy Mowatt,
Nirvana,
Mark Hollis,
The Sound,
Alice Coltrane,
Mo-Dettes,
Strawberry Alarm Clock,
Howard Jones,
Lalann,
Fort Wilson Riot,
Symarip,
the Germs,
Visionaries,LMNO, T- Love & Iriscience,
Section 25,
These Immortal Souls,
Lee Hazlewood,
Angels of Light & Akron/Family,
T.S.O.L.,
Von Mondo,
Neu!,
Silicon Teens,
Joey Negro, Joey Negro, Joey Negro, Joey Negro.
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.