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 the UAE and from Cairo.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Madrid.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the theremin 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 Electric Light Orchestra to the rap kids.
I played it at the Astoria.
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 Minny Pops. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal grime 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 harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
X-102,
New York Dolls,
Easy Going,
The Grass Roots,
The Last Poets,
Gian Franco Pienzio,
Marcia Griffiths,
Country Teasers,
The Angels of Light,
Skarface,
Rekid,
Roy Ayers,
Vladislav Delay,
Grandmaster Flash and the Furious Five,
Rhythm & Sound,
Kerrie Biddell,
Rufus Thomas,
Joe Smooth,
Quantec,
Pagans,
Talk Talk,
Wolf Eyes,
Dave Gahan,
Dennis Brown,
Eve St. Jones,
Susan Cadogan,
the Fania All-Stars,
Pharoah Sanders,
Thompson Twins,
Kas Product,
Michelle Simonal,
The Fuzztones,
Amazonics,
Flipper,
The New Christs,
Lou Reed & Metallica,
The Leaves,
Bobby Byrd,
The Slackers,
The J.B.'s,
Carl Craig,
Loose Ends,
Camouflage,
Quando Quango,
Lungfish,
Gil Scott-Heron and Jamie xx,
Marmalade,
Wally Richardson,
Joyce Sims,
Graham Central Station,
Arcadia,
David Bowie,
The Remains,
The Durutti Column,
the Swans,
Byron Stingily,
Young Marble Giants,
Sister Nancy,
The Motions,
Camberwell Now,
Lonnie Liston Smith,
The Velvet Underground, The Velvet Underground, The Velvet Underground, The Velvet Underground.
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.