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 Costa Rica and from Jakarta.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Bremen and New York.
I'm losing my edge to the art-school Mumbai 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 mellotron sounds with much patience.
I was there when David Bowie 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 Leonard Cohen to the jazz kids.
I played it at Cafe Wha.
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 Byron Stingily. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Marmalade record on German import.
I heard that you have a white label of every seminal disco 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 sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a 10cc record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
Masters at Work,
Manfred Mann's Earth Band,
kango's stein massive,
The Last Poets,
Symarip,
Avey Tare,
Jeru the Damaja,
Hoover,
The Kinks,
Desert Stars,
Visage,
E-Dancer,
New Age Steppers,
Lungfish,
Bang On A Can,
EPMD,
London Community Gospel Choir,
Bluetip,
DeepChord presents Echospace,
Ultra Naté,
Jeff Lynne,
Pagans,
The J.B.'s,
Jerry Gold Smith,
Ituana,
Lou Reed,
Lindisfarne,
Sexual Harrassment,
These Immortal Souls,
The Slits,
Gang Gang Dance,
Iggy Pop,
The Gun Club,
the Slits,
Ronan,
Fluxion,
Spandau Ballet,
Michelle Simonal,
Yaz,
Q65,
Unrelated Segments,
R.M.O.,
Heaven 17,
Banda Bassotti,
Freddie Wadling,
Röyhkä ja Rättö ja Lehtisalo,
Rekid,
Kas Product,
In Retrospect,
Los Fastidios,
Sandy B,
Tropical Tobacco,
MC5,
Massinfluence,
Camouflage,
Absolute Body Control,
Loose Ends,
Deutsch Amerikanische Freundschaft,
Scrapy,
Cybotron,
David Axelrod,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.