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 Romania and from Lille.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Copenhagen.
I'm losing my edge to the art-school Lyon 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 mellotron 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 The Star Department to the jazz kids.
I played it at the 40 Watt.
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 the Human League. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Livin' Joy,
Oneida,
Tommy Roe,
The Selecter,
Deadbeat,
Kaleidoscope,
B.T. Express,
Mary Jane Girls,
Bush Tetras,
Ohio Players,
These Immortal Souls,
Amazonics,
Circle Jerks,
Sun Ra Arkestra,
The Searchers,
Isaac Hayes,
Man Parrish,
Sonny Sharrock,
the Association,
The Associates,
Country Teasers,
Darondo,
Bill Wells,
Los Fastidios,
10cc,
The Monochrome Set,
Lou Reed,
Lou Reed & John Cale,
Nick Fraelich,
Visionaries,LMNO, T- Love & Iriscience,
The Stooges,
James Chance & The Contortions,
AZ,
Pantytec,
Soulsonic Force,
Delon & Dalcan,
The Raincoats,
The Blues Magoos,
The Gun Club,
Funkadelic,
Byron Stingily,
Jimmy McGriff,
Niagra,
The Moody Blues,
Leonard Cohen,
It's A Beautiful Day,
Crispian St. Peters,
Flipper,
Slave,
Unrelated Segments,
Be Bop Deluxe,
Andrew Ashong & Theo Parrish,
Brothers Johnson,
John Holt,
Silicon Teens,
Johnny Clarke,
June Days,
Sight & Sound,
Angels of Light & Akron/Family,
Rhythm & Sound,
Barbara Tucker, Barbara Tucker, Barbara Tucker, Barbara Tucker.
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.