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 Honduras and from Winnipeg.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Manchester.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the guitar 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 Dorothy Ashby to the electroclash kids.
I played it at Trash.
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 Faust. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Faraquet 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 '90s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Womack,
Bootsy's Rubber Band,
The Slits,
Sexual Harrassment,
Smog,
The Offenders,
Clear Light,
Roy Ayers Ubiquity,
Ultra Naté,
Marmalade,
Tropical Tobacco,
Dr. Dre and Snoop Doggy Dog,
Blancmange,
Pharoah Sanders,
Tommy Roe,
Sam Rivers,
Public Image Ltd.,
New Order,
Deutsch Amerikanische Freundschaft,
D'Angelo,
Colin Newman,
Henry Cow,
the Bar-Kays,
Isaac Hayes,
The Remains,
Barrington Levy,
The Busters,
In Retrospect,
Peter & Gordon,
Lou Reed & John Cale,
Harpers Bizarre,
Neu!,
Cameo,
Roy Ayers,
Newcleus,
Wolf Eyes,
Peter and Kerry,
Bad Manners,
Idris Muhammad,
Yaz,
Laurel Aitken,
Joy Division,
Minutemen,
Sticky Fingaz feat. Raekwon,
Shuggie Otis,
Stiv Bators,
Altered Images,
Minny Pops,
Amon Düül,
Parry Music,
Scott Walker,
Lyres,
Joe Finger,
Jacques Brel,
Essential Logic,
Kerrie Biddell,
the Association,
The Last Poets,
Scrapy,
Fatback Band,
Jandek, Jandek, Jandek, Jandek.
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.