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 Uzbekistan and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Accra and Mumbai.
I'm losing my edge to the art-school Seoul 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the spring reverb 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 Average White Band to the punk kids.
I played it at the Hacienda.
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 The Fire Engines. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every The Slackers 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
Oppenheimer Analysis,
Maurizio,
Fort Wilson Riot,
UT,
Robert Wyatt,
Harpers Bizarre,
Justin Hinds & The Dominoes,
Harmonia,
PIL,
AZ,
Traffic Nightmare,
Cluster,
The Index,
Amon Düül,
Rakim,
Depeche Mode,
Gil Scott-Heron and Jamie xx,
Kings Of Tomorrow,
Con Funk Shun,
Anthony Braxton,
Notorious Big And Bone Thugs,
Jandek,
ABBA,
The West Coast Pop Art Experimental Band,
Lou Reed & John Cale,
Colin Newman,
Bluetip,
Man Eating Sloth,
Black Flag,
Rapeman,
Jeru the Damaja,
Art Ensemble Of Chicago,
R.M.O.,
Eric B and Rakim,
The Fall,
The Flesh Eaters,
Deakin,
H. Thieme,
The Monochrome Set,
Junior Murvin,
Aaron Thompson,
Howard Jones,
Animal Collective,
Neu!,
Archie Shepp,
Country Joe & The Fish,
FM Einheit,
Index,
Agent Orange,
Vladislav Delay,
the Slits,
Delta 5,
Steve Hackett,
Wighnomy Brothers & Robag Wruhme,
8 Eyed Spy,
Rotary Connection,
DJ Style,
kango's stein massive,
Fad Gadget,
Manfred Mann's Earth Band,
Niagra,
The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band.
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.