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 Lebanon and from Stockholm.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Accra 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 Cramps to the jazz kids.
I played it at the Crocodile.
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 Avey Tare's Slasher Flicks. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every Half Japanese 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Swans,
Pagans,
Super Lover Cee & Casanova Rud,
Marcia Griffiths,
Ken Boothe,
Country Joe & The Fish,
Cabaret Voltaire,
Faust,
Country Teasers,
Orchestral Manoeuvres in the Dark,
Ronnie Foster,
Can,
Ohio Players,
World's Most,
Wings,
Negative Approach,
Sex Pistols,
Gil Scott-Heron & Brian Jackson,
The Move,
Echo & the Bunnymen,
The Fuzztones,
Metal Thangz,
The Neon Judgement,
The Moody Blues,
The Smoke,
Angels of Light & Akron/Family,
Pylon,
Aaron Thompson,
Peter & Gordon,
Girls At Our Best!,
Half Japanese,
In Retrospect,
Siouxsie and the Banshees,
Crash Course in Science,
The Chocolate Watch Band,
Symarip,
Duran Duran,
Outsiders,
OOIOO,
Inner City,
Barclay James Harvest,
The Residents,
The Flesh Eaters,
Procol Harum,
Japan,
Donny Hathaway,
Gabor Szabo,
Ralphi Rosario,
Gregory Isaacs,
Zero Boys,
Roy Ayers Ubiquity,
Brick,
Rahsaan Roland Kirk,
a-ha,
Kerrie Biddell,
Tears for Fears,
Manfred Mann's Earth Band,
Technova,
Porter Ricks,
Loose Ends,
Nas,
Blancmange,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.