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 Oman and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Tehran and London.
I'm losing my edge to the art-school Bremen 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 chamberlin 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 Avey Tare's Slasher Flicks to the disco 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 Eddi Front. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Black Bananas 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 '90s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
Faraquet,
Make Up,
The Flesh Eaters,
Camberwell Now,
Hasil Adkins,
Bizarre Inc.,
Malaria!,
Sad Lovers and Giants,
Cluster,
The Fugs,
The Dead C,
Traffic Nightmare,
John Cale,
Minnie Riperton,
Danielle Patucci,
Charles Mingus,
Bush Tetras,
Zero Boys,
Grauzone,
Rod Modell,
Moby Grape,
Alice Coltrane,
Notorious BIG live in Amsterdam,
Liaisons Dangereuses,
Quando Quango,
Barry Ungar,
Orchestral Manoeuvres in the Dark,
The Electric Prunes,
X-Ray Spex,
Art Ensemble Of Chicago,
Sound Behaviour,
the Sonics,
Pussy Galore,
The Searchers,
Lou Reed & John Cale,
Echospace,
New Age Steppers,
Motorama,
JFA,
June of 44,
Eyeless In Gaza,
Bluetip,
Khruangbin,
Minor Threat,
Lyres,
The Cosmic Jokers,
Electric Prunes,
Kauko Röyhkä ja Narttu,
Unwound,
Toni Rubio,
Roxy Music,
Fugazi,
Suburban Knight,
The Motions,
Pierre Henry,
Nico,
Radio Birdman,
Röyhkä ja Rättö ja Lehtisalo,
The Smiths,
The Knickerbockers,
Rites of Spring,
Sunsets and Hearts,
The Victims,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.