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 France and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Philadelphia.
I'm losing my edge to the art-school Lyon 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 1968 at the first Can practice in a loft in Cologne.
I was working on the organ 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 The Blackbyrds to the rap 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 The Sound. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every DNA record on German import.
I heard that you have a white label of every seminal dance 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 marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your guitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Teenage Jesus and the Jerks,
London Community Gospel Choir,
Tomorrow,
The Barracudas,
PIL,
Sarah Menescal,
Youth Brigade,
Warren Ellis,
The Vogues,
Soft Cell,
The Cowsills,
Echo & the Bunnymen,
Eric Dolphy,
Kurtis Blow,
The Offenders,
The Standells,
Bad Manners,
Roy Ayers,
Orchestral Manoeuvres in the Dark,
Deadbeat,
Deutsch Amerikanische Freundschaft,
The Blues Magoos,
the Soft Cell,
Gichy Dan,
Eli Mardock,
Kings Of Tomorrow,
Peter Gordon & Love of Life Orchestra,
The Cure,
The Saints,
The American Breed,
B.T. Express,
Althea and Donna,
Grandmaster Flash and the Furious Five,
Cabaret Voltaire,
Lou Christie,
It's A Beautiful Day,
Barry Ungar,
Cluster,
Maurizio,
The West Coast Pop Art Experimental Band,
Y Pants,
The Smoke,
The Seeds,
Con Funk Shun,
Todd Rundgren,
Pylon,
UT,
Pantytec,
Yazoo,
Howard Jones,
Be Bop Deluxe,
The Doobie Brothers,
Scratch Acid,
Stockholm Monsters,
Bluetip,
Underground Resistance,
Rekid,
ABC,
Barbara Tucker,
Suicide,
Gastr Del Sol,
X-Ray Spex, X-Ray Spex, X-Ray Spex, X-Ray Spex.
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.