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 Madagascar and from Columbus.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Taipei and Bremen.
I'm losing my edge to the art-school Philadelphia 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 1984 at the first Arcadia practice in a loft in London.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald 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 Rhythim Is Rhythim to the electroclash kids.
I played it at the Troubador.
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 Anthony Braxton. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Rod Modell 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 '70s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a John Cale record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T. Rex,
Section 25,
The Sound,
Qualms,
Eddi Front,
the Soft Cell,
Con Funk Shun,
Public Image Ltd.,
Barrington Levy,
Flamin' Groovies,
Curtis Mayfield,
Eve St. Jones,
Richard Hell and the Voidoids,
The Move,
Vladislav Delay,
Masters at Work,
Drexciya,
X-102,
Crispy Ambulance,
Cameo,
Max Romeo,
DeepChord presents Echospace,
Ohio Players,
Kevin Saunderson,
Scan 7,
Supertramp,
The Divine Comedy,
OOIOO,
Sly & The Family Stone,
The Electric Prunes,
Piero Umiliani,
Thompson Twins,
The Golliwogs,
Susan Cadogan,
Lightning Bolt,
JFA,
Thee Headcoats,
The Knickerbockers,
Cabaret Voltaire,
Michelle Simonal,
Pulsallama,
Panda Bear,
Guru Guru,
Talk Talk,
Ice-T,
David McCallum,
Robert Hood,
The Evens,
Fifty Foot Hose,
Das Ding,
cv313,
Arab on Radar,
Janne Schatter,
Negative Approach,
Amon Düül,
Kaleidoscope,
Avey Tare,
The Searchers,
Pharoah Sanders,
Nico,
Ponytail, Ponytail, Ponytail, Ponytail.
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.