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 Bahamas and from New York.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Cairo and Copenhagen.
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 oboe sounds with much patience.
I was there when Tom Verlaine 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 Mandrill to the grime kids.
I played it at the Troubador.
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 Severed Heads. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every Soul Sonic Force 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo 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?
The Slits,
The Modern Lovers,
Ultravox,
Pulsallama,
MC5,
Fluxion,
Flash Fearless,
Sun Ra,
Absolute Body Control,
Michelle Simonal,
Pharaoh Sanders and the Fire Engines,
Rekid,
Lakeside,
Rhythim Is Rhythim,
The Star Department,
The Cure,
Popol Vuh,
Rotary Connection,
Clear Light,
La Düsseldorf,
Sad Lovers and Giants,
Piero Umiliani,
Super Lover Cee & Casanova Rud,
Robert Wyatt,
Zapp,
Animal Collective,
Franke,
John Coltrane,
The United States of America,
Laurel Aitken,
Pagans,
James Chance & The Contortions,
Sly & The Family Stone,
Warsaw,
Radio Birdman,
The Smoke,
Tim Buckley,
The Fortunes,
Kauko Röyhkä ja Narttu,
Ken Boothe,
Simply Red,
Audionom,
The Dead C,
Wighnomy Brothers & Robag Wruhme,
Judy Mowatt,
Intrusion,
Talk Talk,
Tubeway Army,
Sister Nancy,
The Busters,
Orchestral Manoeuvres in the Dark,
Danielle Patucci,
Wolf Eyes,
Agent Orange,
Quadrant,
Donald Byrd,
Essential Logic,
Todd Rundgren, Todd Rundgren, Todd Rundgren, Todd Rundgren.
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.