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 Oman and from Portland.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Spokane and Mexico City.
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 Feelies practice in a loft in Haledon.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Jesper Dahlbäck to the rock kids.
I played it at the Hacienda.
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 Silicon Teens. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every the Sonics 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox 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?
Moby Grape,
Inner City,
Gabor Szabo,
Monolake,
X-Ray Spex,
The Dave Clark Five,
China Crisis,
The Flesh Eaters,
Nation of Ulysses,
Young Marble Giants,
Gastr Del Sol,
Jacques Brel,
The Leaves,
Essential Logic,
Underground Resistance,
Bob Dylan,
FM Einheit,
Deepchord,
New York Dolls,
Visage,
The Victims,
The West Coast Pop Art Experimental Band,
Yellowson,
Sex Pistols,
H. Thieme,
The Names,
Rufus Thomas,
ABBA,
DeepChord presents Echospace,
Neil Young & Crazy Horse,
The Count Five,
Gang Green,
Johnny Osbourne,
Oppenheimer Analysis,
Aloha Tigers,
The Velvet Underground,
Symarip,
Main Source,
R.M.O.,
Archie Shepp,
Blake Baxter,
the Normal,
Parry Music,
Scrapy,
Don Cherry,
Deutsch Amerikanische Freundschaft,
The Move,
Gil Scott-Heron and Jamie xx,
Brass Construction,
a-ha,
The Fall,
Banda Bassotti,
Jerry's Kids,
Harpers Bizarre,
Country Joe & The Fish,
Susan Cadogan,
the Fania All-Stars,
Dead Boys,
Eve St. Jones,
Cluster,
De La Soul & Jungle Brothers,
Spandau Ballet,
John Lydon, John Lydon, John Lydon, John Lydon.
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.