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 Zambia and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Beijing.
I'm losing my edge to the art-school Mexico City 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the oboe 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 Amon Düül II to the techno 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 Lou Reed & Metallica. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Rotary Connection 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 '80s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
T. Rex,
Sight & Sound,
Avey Tare,
Spandau Ballet,
Scion,
Ituana,
The Smiths,
Bad Manners,
Gil Scott-Heron and Jamie xx,
Sad Lovers and Giants,
Gichy Dan,
Jesper Dahlback,
Fear,
The Moleskins,
Brand Nubian,
Cameo,
Masters at Work,
James White and The Blacks,
The Neon Judgement,
Sly & The Family Stone,
Don Cherry,
Average White Band,
Von Mondo,
Jeru the Damaja,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jeff Mills,
Flamin' Groovies,
OOIOO,
Delta 5,
Audionom,
The Gladiators,
The Real Kids,
The Wake,
The Angels of Light,
Gong,
Lucky Dragons,
The Five Americans,
Quando Quango,
Blake Baxter,
Scan 7,
New Age Steppers,
Banda Bassotti,
Red Lorry Yellow Lorry,
LL Cool J,
Intrusion,
The Walker Brothers,
the Bar-Kays,
Traffic Nightmare,
Oppenheimer Analysis,
Clear Light,
Sarah Menescal,
Kaleidoscope,
Max Romeo,
Faraquet,
Echo & the Bunnymen,
Roger Hodgson,
The Invisible,
Sex Pistols,
Harpers Bizarre,
Anakelly,
Flipper, Flipper, Flipper, Flipper.
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.