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 Laos and from Beijing.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Toronto and Sao Paulo.
I'm losing my edge to the art-school Manchester 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 spring reverb 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 Move to the punk 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 Eli Mardock. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft 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 '70s cut and another box set from the '70s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Cameo record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Peanut Butter Conspiracy,
OOIOO,
Mission of Burma,
Todd Rundgren,
Grandmaster Flash and the Furious Five,
Blake Baxter,
Fad Gadget,
Oblivians,
cv313,
Lonnie Liston Smith,
The Walker Brothers,
The Fire Engines,
Iggy Pop,
Drexciya,
The Alarm Clocks,
Country Teasers,
Average White Band,
Wighnomy Brothers & Robag Wruhme,
Byron Stingily,
Magma,
Gil Scott Heron,
Lucky Dragons,
Gerry Rafferty,
Marc Romboy vs. Booka Shade,
Lungfish,
The Doobie Brothers,
Deutsch Amerikanische Freundschaft,
Harry Pussy,
Ultravox,
Agent Orange,
Gang Green,
Brick,
The Beau Brummels,
The Velvet Underground,
The Fortunes,
kango's stein massive,
The Victims,
Jesper Dahlbäck,
ABC,
Barclay James Harvest,
Deakin,
Rod Modell,
Arab on Radar,
Marcia Griffiths,
Lyres,
Cybotron,
Erasure,
Carl Craig,
Quantec,
Chris Corsano,
Blossom Toes,
John Foxx,
The Saints,
Idris Muhammad,
Boogie Down Productions,
Moebius,
Television,
Rosa Yemen,
The Blues Magoos,
Severed Heads,
Ten City, Ten City, Ten City, Ten City.
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.