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 Slovakia and from Glasgow.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Shanghai.
I'm losing my edge to the art-school Stockholm 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 chamberlin 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 Crispian St. Peters 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 Rowland S Howard / Lydia Lunch. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every Lower 48 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 chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bush Tetras record.
I hear that you and your band have sold your synthesizer and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
L. Decosne,
Skarface,
The Mighty Diamonds,
Ultramagnetic MC's,
Mars,
Agitation Free,
Livin' Joy,
Monks,
the Bar-Kays,
Eyeless In Gaza,
Black Sheep,
A Flock of Seagulls,
Yusef Lateef,
Terrestrial Tones,
Von Mondo,
Lindisfarne,
Groovy Waters,
Absolute Body Control,
Eric B and Rakim,
Bill Wells,
Lalann,
Vaughan Mason & Crew,
Nation of Ulysses,
Barrington Levy,
The Gap Band,
Black Flag,
Unwound,
Andrew Hill,
Brand Nubian,
Slick Rick,
The Divine Comedy,
David Bowie,
Drexciya,
Black Moon,
Cecil Taylor,
The Trojans,
Interpol,
Rapeman,
Hoover,
China Crisis,
New Age Steppers,
Bizarre Inc.,
Bobby Sherman,
Nik Kershaw,
The Fall,
David Axelrod,
Essential Logic,
KRS-One,
Mantronix,
Juan Atkins,
The Star Department,
Derrick Morgan,
Nick Fraelich,
Eden Ahbez,
Young Marble Giants,
Moss Icon,
Kerri Chandler,
Ohio Players,
Ronan,
The Gories,
The Doors, The Doors, The Doors, The Doors.
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.