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 Zambia and from Houston.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Salvador and Columbus.
I'm losing my edge to the art-school Woodstock 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 1980 at the first Cybotron practice in a loft in Detroit.
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 Graham Central Station to the rap 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 Symarip. All the underground hits.
All Jerry's Kids tracks. I heard you have a vinyl of every Hot Snakes record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Niagra,
Scrapy,
The Seeds,
The Peanut Butter Conspiracy,
Tim Buckley,
Q65,
Boredoms,
A Certain Ratio,
Crime,
Sister Nancy,
Roxette,
The Mojo Men,
Albert Ayler,
Aural Exciters,
Zero Boys,
LL Cool J,
It's A Beautiful Day,
Jawbox,
Peter Gordon & Love of Life Orchestra,
The Birthday Party,
Sexual Harrassment,
Toni Rubio,
Vaughan Mason & Crew,
Bush Tetras,
Young Marble Giants,
Soft Cell,
The Dirtbombs,
Howard Jones,
Louis and Bebe Barron,
Avey Tare's Slasher Flicks,
The Kinks,
Massinfluence,
a-ha,
Lonnie Liston Smith,
The Doobie Brothers,
Selector Dub Narcotic,
Graham Central Station,
Subhumans,
Neil Young & Crazy Horse,
Pussy Galore,
Gastr Del Sol,
Dawn Penn,
Delon & Dalcan,
The Pretty Things,
The Gories,
Lalann,
DNA,
Sandy B,
The Evens,
Inner City,
Skriet,
Susan Cadogan,
The Wake,
Gerry Rafferty,
Kool G Rap & DJ Polo,
Andrew Ashong & Theo Parrish,
U.S. Maple,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.