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 Paraguay and from Woodstock.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Delhi and Madrid.
I'm losing my edge to the art-school Taipei 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 808 sounds with much patience.
I was there when Holger Czukay 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 Flamin' Groovies to the rock kids.
I played it at the Astoria.
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 DNA. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every Marc Almond 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 '70s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare's Slasher Flicks record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
Bobby Sherman,
The Five Americans,
Bootsy Collins,
the Bar-Kays,
Sunsets and Hearts,
Silicon Teens,
Fear,
Janne Schatter,
The Durutti Column,
Matthew Bourne,
Roger Hodgson,
Marc Almond,
Ken Boothe,
Pharoah Sanders,
Excepter,
Kerrie Biddell,
Johnny Osbourne,
Banda Bassotti,
Groovy Waters,
X-101,
Teenage Jesus and the Jerks,
Trumans Water,
Surgeon,
Sad Lovers and Giants,
The Monks,
Harpers Bizarre,
The Remains,
Chrome,
Albert Ayler,
Sun City Girls,
The Knickerbockers,
Bill Near,
Boz Scaggs,
Hardrive,
Nick Cave & The Bad Seeds,
Wolf Eyes,
Zero Boys,
The Techniques,
Stereo Dub,
The Dave Clark Five,
Moebius,
Minor Threat,
kango's stein massive,
Crash Course in Science,
Angry Samoans,
Rakim,
Arcadia,
Underground Resistance,
Oblivians,
Sight & Sound,
Bill Wells,
Sun Ra,
Fatback Band,
Cabaret Voltaire,
Alison Limerick,
Grandmaster Flash,
Harry Pussy,
James Chance & The Contortions,
The Motions,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.