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 Namibia and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Houston.
I'm losing my edge to the art-school Bremen 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Bill Near to the punk kids.
I played it at the Spitz.
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 Andrew Hill. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every One Last Wish record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Tears for Fears record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Basic Channel,
Teenage Jesus and the Jerks,
Connie Case,
Fugazi,
X-Ray Spex,
New York Dolls,
Kayak,
Stetsasonic,
Loose Ends,
The Mighty Diamonds,
Kaleidoscope,
K-Klass,
Rufus Thomas,
Yusef Lateef,
Lou Reed,
The Selecter,
Man Eating Sloth,
Q65,
Silicon Teens,
Idris Muhammad,
The Divine Comedy,
Joe Smooth,
Grandmaster Flash,
The Offenders,
John Lydon,
The Buckinghams,
The Real Kids,
Gabor Szabo,
Pole,
Roxette,
The Star Department,
Ash Ra Tempel,
Pierre Henry,
Cybotron,
Trumans Water,
Amon Düül II,
Lee Hazlewood,
The Fuzztones,
Arab on Radar,
Grandmaster Flash and the Furious Five,
Pete Rock & C.L. Smooth,
Schoolly D,
Country Joe & The Fish,
John Coltrane,
Livin' Joy,
The Blues Magoos,
Lalo Schifrin,
Spandau Ballet,
Sight & Sound,
Beasts of Bourbon,
Dorothy Ashby,
The Black Dice,
Michelle Simonal,
Fifty Foot Hose,
Andrew Ashong & Theo Parrish,
Cameo,
Qualms,
Gil Scott Heron,
Unrelated Segments,
Panda Bear, Panda Bear, Panda Bear, Panda Bear.
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.