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 Djibouti and from Milan.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1969 to 1974.
I'm losing my edge.
To all the kids in New York and Lyon.
I'm losing my edge to the art-school Philadelphia 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 Pole to the dance kids.
I played it at CBGB's.
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 Richard Hell and the Voidoids. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every The Gories record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Country Joe & The Fish,
Thee Headcoats,
Fort Wilson Riot,
AZ,
Hashim,
Glambeats Corp.,
Dual Sessions,
Rotary Connection,
Bauhaus,
Whodini,
Johnny Osbourne,
Rhythm & Sound,
Morten Harket,
a-ha,
Deadbeat,
John Lydon,
Erykah Badu,
The Slackers,
Kevin Saunderson,
Metal Thangz,
Model 500,
The Cowsills,
Gang Gang Dance,
Funkadelic,
Monks,
Y Pants,
Blancmange,
UT,
Todd Terry,
Michelle Simonal,
Ossler,
Laurel Aitken,
The Grass Roots,
The Neon Judgement,
Absolute Body Control,
Bill Near,
Juan Atkins,
Guru Guru,
Soul Sonic Force,
Basic Channel,
Lakeside,
Camouflage,
Arab on Radar,
Alison Limerick,
Country Teasers,
London Community Gospel Choir,
The Wake,
Jerry's Kids,
Pet Shop Boys,
The Gladiators,
Sam Rivers,
Heavy D & The Boyz,
Arcadia,
Albert Ayler,
PIL,
Sun Ra,
Schoolly D,
Todd Rundgren,
Scott Walker + Sunn O))),
Altered Images,
Gil Scott-Heron & Brian Jackson,
Scrapy, Scrapy, Scrapy, Scrapy.
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.