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 Dominican Republic and from Toronto.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Milan.
I'm losing my edge to the art-school Accra 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 guitar 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 Donald Byrd to the grime kids.
I played it at Trash.
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 Jimmy McGriff. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Tres Demented record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
Gregory Isaacs,
The Remains,
Whodini,
Gabor Szabo,
Symarip,
Teenage Jesus and the Jerks,
Wasted Youth,
John Coltrane,
Radiopuhelimet,
Bobby Byrd,
The Human League,
Susan Cadogan,
Janne Schatter,
The Electric Prunes,
Sad Lovers and Giants,
John Cale,
Pierre Henry,
Liliput,
Guru Guru,
Don Cherry,
Art Ensemble Of Chicago,
Half Japanese,
A Flock of Seagulls,
the Swans,
Deadbeat,
Traffic Nightmare,
The Kinks,
Absolute Body Control,
Skarface,
Pharoah Sanders,
Donny Hathaway,
Gastr Del Sol,
Terry Callier,
The Move,
The Fall,
Aaron Thompson,
Marcia Griffiths,
Procol Harum,
Crispian St. Peters,
Big Daddy Kane,
Avey Tare's Slasher Flicks,
The Sound,
Schoolly D,
Jesper Dahlback,
Maleditus Sound,
Marshall Jefferson,
Kevin Saunderson,
Q65,
The Shadows of Knight,
Gil Scott Heron,
Ultimate Spinach,
Steve Hackett,
Heaven 17,
DJ Sneak,
Tears for Fears,
Gerry Rafferty,
Pere Ubu,
Todd Rundgren,
Cybotron,
Lou Christie,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.