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 Swaziland and from Spokane.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Columbus and Mexico City.
I'm losing my edge to the art-school London 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 at the first Suicide practice in a loft in New York.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 Liaisons Dangereuses to the electroclash 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 Wings. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Ice-T record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes 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 Leaves,
Camron Feat. Memphis Bleek And Beenie Seigel,
Average White Band,
Hashim,
Fat Boys,
Gil Scott Heron,
Byron Stingily,
The Count Five,
A Flock of Seagulls,
Aural Exciters,
Deutsch Amerikanische Freundschaft,
T. Rex,
Thompson Twins,
Robert Wyatt,
Jerry's Kids,
Swell Maps,
Grandmaster Flash and the Furious Five,
John Cale,
Surgeon,
A Certain Ratio,
Liaisons Dangereuses,
The Sound,
Swans,
Ultimate Spinach,
Lalann,
Niagra,
Louis and Bebe Barron,
the Swans,
48th St. Collective,
Gastr Del Sol,
Rufus Thomas,
Kerrie Biddell,
Agent Orange,
Aaron Thompson,
Jeff Lynne,
Heavy D & The Boyz,
The Litter,
Lakeside,
Newcleus,
Rotary Connection,
The Skatalites,
Henry Cow,
Joensuu 1685,
The Real Kids,
Trumans Water,
Isaac Hayes,
Kurtis Blow,
Negative Approach,
Gary Puckett & The Union Gap,
Radiohead,
The Walker Brothers,
Public Enemy,
The Sonics,
Tres Demented,
Throbbing Gristle,
Electric Light Orchestra,
Lalo Schifrin,
The Young Rascals,
Rod Modell,
Drexciya,
Basic Channel,
The Standells,
Pussy Galore,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.