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 China and from Portland.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Tehran and Houston.
I'm losing my edge to the art-school Bologna 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 marimba 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 Red Krayola to the punk 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 Slits. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Spoonie Gee record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your mellotron and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
Stetsasonic,
Tommy Roe,
Bad Manners,
T. Rex,
Terrestrial Tones,
Rites of Spring,
The Monks,
The Young Rascals,
Jandek,
London Community Gospel Choir,
Cameo,
DJ Style,
The Sisters of Mercy,
Pussy Galore,
Matthew Bourne,
Essential Logic,
The Vogues,
Youth Brigade,
Barry Ungar,
48th St. Collective,
World's Most,
Supertramp,
Ludus,
Electric Prunes,
Delon & Dalcan,
The Smiths,
David Axelrod,
Connie Case,
Mars,
Röyhkä ja Rättö ja Lehtisalo,
Dawn Penn,
Aloha Tigers,
Pet Shop Boys,
Ice-T,
Andrew Hill,
The Fugs,
John Foxx,
Thinking Fellers Union Local 282,
Justin Hinds & The Dominoes,
Public Enemy,
Dual Sessions,
Scion,
Thee Headcoats,
Chrome,
Heavy D & The Boyz,
Darondo,
June of 44,
Sixth Finger,
Avey Tare,
Jacob Miller,
Duran Duran,
the Fania All-Stars,
Peter Gordon & Love of Life Orchestra,
Silicon Teens,
Country Teasers,
Hasil Adkins,
Andrew Ashong & Theo Parrish,
K-Klass,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.