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 Ireland and from Manila.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Bologna and Lyon.
I'm losing my edge to the art-school Lagos 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Scott Walker to the techno kids.
I played it at the Crocodile.
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 Red Lorry Yellow Lorry. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Scientists 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 '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Pole 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?
Scion,
Excepter,
The Invisible,
the Sonics,
Magma,
Graham Central Station,
Al Stewart,
Babytalk,
Ohio Players,
The Dirtbombs,
Art Ensemble Of Chicago,
The Mighty Diamonds,
Eric Dolphy,
Tubeway Army,
Be Bop Deluxe,
Quantec,
Dave Gahan,
Terrestrial Tones,
Echo & the Bunnymen,
the Slits,
Deutsch Amerikanische Freundschaft,
Bluetip,
Ajijia Myrayebe,
Grey Daturas,
Bob Dylan,
Soft Cell,
London Community Gospel Choir,
Bootsy Collins,
Soul II Soul,
Moby Grape,
Ossler,
Pole,
Howard Jones,
Gang Green,
Deadbeat,
The Knickerbockers,
Animal Collective,
The Dead C,
DeepChord presents Echospace,
Lou Christie,
Stiv Bators,
The Jesus and Mary Chain,
The Birthday Party,
Whodini,
Liliput,
Brothers Johnson,
Richard Hell and the Voidoids,
Maurizio,
Iggy Pop,
Sällskapet,
Public Image Ltd.,
The Toasters,
Tomorrow,
Alison Limerick,
The Cosmic Jokers,
Letta Mbulu,
Talk Talk,
Icehouse,
The Red Krayola,
Dr. Dre and Snoop Doggy Dog,
The Pop Group,
Aswad,
Pet Shop Boys, Pet Shop Boys, Pet Shop Boys, Pet Shop Boys.
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.