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 Russia and from Taipei.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Lille.
I'm losing my edge to the art-school Calgary 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Minor Threat to the grunge 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 Robert Görl. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every The Music Machine 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 '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
Crash Course in Science,
Main Source,
Hardrive,
The Happenings,
Lou Reed & John Cale,
Animal Collective,
Simply Red,
Pete Rock & C.L. Smooth,
Al Stewart,
Neu!,
Goldenarms,
Quando Quango,
Arthur Verocai,
Ultimate Spinach,
T. Rex,
The Alarm Clocks,
Brothers Johnson,
FM Einheit,
Ultra Naté,
Harry Pussy,
It's A Beautiful Day,
New Age Steppers,
Hot Snakes,
Television Personalities,
David McCallum,
Chrome,
John Cale,
The Stooges,
Eyeless In Gaza,
China Crisis,
Glambeats Corp.,
Silicon Teens,
Manfred Mann's Earth Band,
Iggy Pop,
Deadbeat,
Magma,
Lakeside,
Lower 48,
Sad Lovers and Giants,
London Community Gospel Choir,
Gil Scott-Heron & Brian Jackson,
Kevin Saunderson,
Pole,
Lungfish,
Mars,
Camron Feat. Memphis Bleek And Beenie Seigel,
Symarip,
Reagan Youth,
These Immortal Souls,
Anakelly,
a-ha,
Niagra,
Fad Gadget,
Maurizio,
Ponytail,
Man Parrish,
Kenny Larkin,
Ornette Coleman,
Cheater Slicks,
the Soft Cell,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.