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 Vanuatu and from Salvador.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Beijing.
I'm losing my edge to the art-school Houston 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the linndrum 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 U.S. Maple to the techno kids.
I played it at the 40 Watt.
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 Spoonie Gee. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every The Flesh Eaters 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 '70s cut and another box set from the '80s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Gichy Dan,
Metal Thangz,
The Black Dice,
The Kinks,
The Mighty Diamonds,
Interpol,
Charles Mingus,
Tubeway Army,
Harpers Bizarre,
Quando Quango,
The Martian,
Cymande,
The Shadows of Knight,
ABC,
Newcleus,
Heaven 17,
Angry Samoans,
Radio Birdman,
Depeche Mode,
The Cramps,
Byron Stingily,
Sun City Girls,
DJ Sneak,
Kas Product,
The Smiths,
Bill Wells,
Rhythim Is Rhythim,
Ornette Coleman,
The Angels of Light,
Red Lorry Yellow Lorry,
CMW,
Scott Walker,
Gang Gang Dance,
Dawn Penn,
The Durutti Column,
Isaac Hayes,
The Mummies,
Roy Ayers,
Eurythmics,
Andrew Ashong & Theo Parrish,
Barbara Tucker,
A Certain Ratio,
Dual Sessions,
Robert Hood,
Eyeless In Gaza,
The Moody Blues,
Kurtis Blow,
Los Fastidios,
Rites of Spring,
Youth Brigade,
The Fall,
Gerry Rafferty,
The Count Five,
The Birthday Party,
Popol Vuh,
X-102,
Quadrant,
Black Moon,
Soulsonic Force,
Warsaw,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.