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 Grenada and from Cairo.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Johannesburg.
I'm losing my edge to the art-school Manchester 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 Big Star practice in a loft in Memphis.
I was working on the spring reverb 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 Goldenarms to the disco 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 Joensuu 1685. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deutsch Amerikanische Freundschaft,
Robert Hood,
Dead Boys,
The Dave Clark Five,
Glenn Branca,
Rufus Thomas,
Susan Cadogan,
One Last Wish,
Amon Düül II,
Rod Modell,
Isaac Hayes,
Zapp,
Audionom,
Erasure,
the Fania All-Stars,
China Crisis,
Eddi Front,
Oppenheimer Analysis,
Connie Case,
The Last Poets,
The Sonics,
Deadbeat,
Magma,
Model 500,
Scientists,
The Modern Lovers,
Scratch Acid,
Avey Tare & Kría Brekkan,
AZ,
Camron Feat. Jay Z And Juelz,
Intrusion,
Mad Mike,
Ponytail,
Spoonie Gee,
Subhumans,
The Leaves,
The Mummies,
Chrome,
Gian Franco Pienzio,
Soul Sonic Force,
Aswad,
Marine Girls,
The Young Rascals,
Talk Talk,
KRS-One,
Gil Scott-Heron and Jamie xx,
Rowland S Howard / Lydia Lunch,
Brass Construction,
Massinfluence,
The Gladiators,
Lucky Dragons,
Sparks,
The Skatalites,
The Index,
The Dead C,
Delon & Dalcan,
Johnny Clarke,
X-102,
Soft Machine,
Alice Coltrane,
Heavy D & The Boyz,
Black Sheep,
Michelle Simonal,
Hot Snakes,
David Bowie, David Bowie, David Bowie, David Bowie.
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.