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 Sweden and from Mexico City.
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 Copenhagen and London.
I'm losing my edge to the art-school Spokane 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 snare 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 John Holt to the disco 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 Icehouse. All the underground hits.
All Scientists tracks. I heard you have a vinyl of every Cabaret Voltaire record on German import.
I heard that you have a white label of every seminal rap 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 linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Oppenheimer Analysis,
Ponytail,
Metal Thangz,
Nik Kershaw,
Joensuu 1685,
Scott Walker,
Marmalade,
ABC,
Thee Headcoats,
Andrew Ashong & Theo Parrish,
Yaz,
Maleditus Sound,
The Residents,
Massinfluence,
The Cosmic Jokers,
Clear Light,
The Alarm Clocks,
EPMD,
Laurel Aitken,
The Grass Roots,
E-Dancer,
Thompson Twins,
The Detroit Cobras,
Judy Mowatt,
Bronski Beat,
Lafayette Afro Rock Band,
Juan Atkins,
Jerry's Kids,
Lou Reed & Metallica,
Gabor Szabo,
F. McDonald,
The J.B.'s,
Ornette Coleman,
Trumans Water,
Animal Collective,
Barbara Tucker,
Siglo XX,
Theoretical Girls,
The Leaves,
T. Rex,
Henry Cow,
The Black Dice,
Donny Hathaway,
the Association,
Eric Dolphy,
The Dirtbombs,
Junior Murvin,
Camron Feat. Memphis Bleek And Beenie Seigel,
Rod Modell,
The Names,
Grauzone,
Rakim,
The Count Five,
Soulsonic Force,
Franke,
Swell Maps,
Bush Tetras,
The Smiths,
Mo-Dettes,
Pulsallama,
Sad Lovers and Giants,
The Slackers,
Section 25,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.