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 Somalia and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Portland.
I'm losing my edge to the art-school Hong Kong 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 1968 at the first Can practice in a loft in Cologne.
I was working on the mellotron 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 Brass Construction to the funk kids.
I played it at the Hacienda.
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 Roy Ayers Ubiquity. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every Barclay James Harvest record on German import.
I heard that you have a white label of every seminal grunge 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 snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Qualms,
Grandmaster Flash,
Al Stewart,
The Sonics,
The Leaves,
Röyhkä ja Rättö ja Lehtisalo,
PIL,
Marshall Jefferson,
Richard Hell and the Voidoids,
48th St. Collective,
Hasil Adkins,
Rahsaan Roland Kirk,
Stiv Bators,
Excepter,
The Golliwogs,
Altered Images,
Delta 5,
Idris Muhammad,
The West Coast Pop Art Experimental Band,
Ohio Players,
Vladislav Delay,
Fluxion,
Boredoms,
ABC,
The Associates,
Aswad,
Siglo XX,
Deepchord,
Ultramagnetic MC's,
The Cramps,
Nik Kershaw,
The Blues Magoos,
Cymande,
Toni Rubio,
Pole,
Ultra Naté,
The Fall,
Lou Reed,
The Divine Comedy,
Ash Ra Tempel,
Scrapy,
Pylon,
Strawberry Alarm Clock,
Alphaville,
DJ Style,
Public Image Ltd.,
Brick,
Dual Sessions,
the Soft Cell,
Severed Heads,
Index,
The Walker Brothers,
Shoche,
Red Lorry Yellow Lorry,
Mad Mike,
Rhythm & Sound,
Agent Orange,
Electric Prunes,
Chrome,
The Dead C,
The Names, The Names, The Names, The Names.
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.