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 Comoros and from Delhi.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1978.
I'm losing my edge.
To all the kids in Madrid and Stockholm.
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 at the first Suicide practice in a loft in New York.
I was working on the linndrum 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 Invisible to the jazz 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 Graham Central Station. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
10cc,
Underground Resistance,
Patti Smith,
Traffic Nightmare,
Au Pairs,
Sexual Harrassment,
Dead Boys,
Iggy Pop,
Teenage Jesus and the Jerks,
Barry Ungar,
Donny Hathaway,
Little Man,
Ronan,
The New Christs,
Morten Harket,
Masters at Work,
Terrestrial Tones,
Avey Tare & Kría Brekkan,
Echospace,
Soft Machine,
Idris Muhammad,
T. Rex,
Chris Corsano,
The Fortunes,
Main Source,
Visage,
UT,
Wasted Youth,
Matthew Bourne,
Lou Reed & Metallica,
Ten City,
Desert Stars,
Sixth Finger,
The Cure,
Livin' Joy,
Joe Smooth,
Piero Umiliani,
The Knickerbockers,
Motorama,
Strawberry Alarm Clock,
David Axelrod,
The United States of America,
Ornette Coleman,
In Retrospect,
the Normal,
Eli Mardock,
Funkadelic,
Al Stewart,
Roy Ayers Ubiquity,
Gastr Del Sol,
Roger Hodgson,
Hoover,
Stetsasonic,
The Motions,
The Slackers,
Toni Rubio,
H. Thieme,
Eric B and Rakim,
Bad Manners,
the Association, the Association, the Association, the Association.
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.