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 Argentina and from Portland.
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 1972.
I'm losing my edge.
To all the kids in Madrid and Johannesburg.
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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 John Lydon to the jazz kids.
I played it at the Spitz.
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 Dave Gahan. All the underground hits.
All Nas tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Letta Mbulu record.
I hear that you and your band have sold your guitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
Rekid,
Little Man,
Ash Ra Tempel,
Funkadelic,
Ice-T,
Pantytec,
Gabor Szabo,
Visage,
E-Dancer,
The Cowsills,
Sly & The Family Stone,
Eli Mardock,
Marc Almond,
the Slits,
Duran Duran,
Procol Harum,
Dawn Penn,
Avey Tare & Kría Brekkan,
Larry & the Blue Notes,
Johnny Clarke,
Stetsasonic,
Strawberry Alarm Clock,
The Fall,
The Stooges,
Aswad,
The Golliwogs,
The Tremeloes,
Electric Prunes,
Barrington Levy,
Suburban Knight,
The Beau Brummels,
Joensuu 1685,
Cabaret Voltaire,
Rahsaan Roland Kirk,
Laurel Aitken,
The Victims,
Robert Hood,
Grandmaster Flash,
The Seeds,
Gang of Four,
Kool Moe Dee,
Erasure,
the Bar-Kays,
London Community Gospel Choir,
Joyce Sims,
David Axelrod,
Wasted Youth,
The Fugs,
Q65,
The Gun Club,
Monolake,
Be Bop Deluxe,
10cc,
Bobby Womack,
The Blackbyrds,
Angry Samoans,
Ronnie Foster,
The Selecter,
Moby Grape,
D'Angelo,
MC5,
Idris Muhammad,
The Dead C,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.