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 Brunei and from New York.
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 1971.
I'm losing my edge.
To all the kids in Seoul and Mumbai.
I'm losing my edge to the art-school Portland 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum 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 The Vogues to the jazz kids.
I played it at the Spitz.
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 Country Teasers. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every Amon Düül 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 '50s cut and another box set from the '80s.
I hear you're buying a 808 and an arpeggiator 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 marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gun Club,
Shuggie Otis,
Vaughan Mason & Crew,
Camberwell Now,
Donald Byrd,
Gil Scott-Heron & Brian Jackson,
The Wake,
Andrew Ashong & Theo Parrish,
Lucky Dragons,
Super Lover Cee & Casanova Rud,
Can,
Adolescents,
Cheater Slicks,
Agitation Free,
The Remains,
Lee Hazlewood,
Danielle Patucci,
Minny Pops,
the Fania All-Stars,
Beasts of Bourbon,
Bootsy's Rubber Band,
Sonny Sharrock,
Althea and Donna,
Soft Cell,
Monolake,
Delta 5,
Tears for Fears,
Lou Reed & John Cale,
Art Ensemble Of Chicago,
Main Source,
Chrome,
Iggy Pop,
Arcadia,
Gang Green,
The West Coast Pop Art Experimental Band,
Amon Düül,
Ponytail,
The Doobie Brothers,
The Young Rascals,
Orchestral Manoeuvres in the Dark,
Echospace,
Avey Tare,
Todd Rundgren,
The Five Americans,
Peter Gordon & Love of Life Orchestra,
The Royal Family And The Poor,
Agent Orange,
Oneida,
Maleditus Sound,
Mr. Review,
The Seeds,
Lalann,
Ralphi Rosario,
Trumans Water,
Pharaoh Sanders and the Fire Engines,
The Associates,
The Victims,
Rahsaan Roland Kirk,
Girls At Our Best!,
Sad Lovers and Giants,
the Normal,
Minutemen, Minutemen, Minutemen, Minutemen.
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.