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 Venezuela and from Mexico City.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1971.
I'm losing my edge.
To all the kids in Winnipeg and London.
I'm losing my edge to the art-school London 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the mellotron 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 Visage to the punk kids.
I played it at the Crocodile.
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 Massinfluence. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every The Fugs record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
The Moleskins,
Audionom,
Gang Starr,
Matthew Halsall,
Man Eating Sloth,
Lindisfarne,
The Durutti Column,
Swans,
Arab on Radar,
June of 44,
Soft Cell,
Sight & Sound,
The J.B.'s,
Ten City,
Girls At Our Best!,
Pulsallama,
The Last Poets,
Panda Bear,
Stockholm Monsters,
Derrick May,
Godley & Creme,
Dual Sessions,
Gang of Four,
Subhumans,
Wasted Youth,
Laurel Aitken,
Ornette Coleman,
Essential Logic,
Barclay James Harvest,
Arcadia,
DJ Style,
Scratch Acid,
PIL,
Notorious BIG live in Amsterdam,
Flipper,
Metal Thangz,
Fad Gadget,
Marc Romboy vs. Booka Shade,
Porter Ricks,
Whodini,
Von Mondo,
Eli Mardock,
Fifty Foot Hose,
The Raincoats,
The Walker Brothers,
Reagan Youth,
T.S.O.L.,
Qualms,
Fugazi,
Röyhkä ja Rättö ja Lehtisalo,
Popol Vuh,
Q65,
Ludus,
The Moody Blues,
The Gun Club,
Pagans,
The Mojo Men,
Jeru the Damaja,
Barry Ungar,
Ultravox,
Fluxion, Fluxion, Fluxion, Fluxion.
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.