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 Ivory Coast and from Lagos.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Delhi and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 mellotron 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 Pharaoh Sanders and the Fire Engines to the crunk kids.
I played it at Cafe Wha.
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 Icehouse. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Young Marble Giants 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 a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Camouflage record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Second Layer,
Bill Near,
Dave Gahan,
Scion,
Newcleus,
Black Moon,
The Durutti Column,
Mantronix,
Liliput,
London Community Gospel Choir,
Rites of Spring,
Manfred Mann's Earth Band,
Fad Gadget,
Qualms,
Nas,
Jandek,
Pagans,
Aural Exciters,
The Cosmic Jokers,
Dawn Penn,
Peter & Gordon,
The Moody Blues,
The Zeros,
Prince Buster,
The Trojans,
Rhythm & Sound,
Soulsonic Force,
China Crisis,
Morten Harket,
Ten City,
Zapp,
The Moleskins,
Soft Machine,
Crooked Eye,
Gil Scott-Heron & Brian Jackson,
David Axelrod,
Wings,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sugar Minott,
Sam Rivers,
Electric Light Orchestra,
Eric Copeland,
Fatback Band,
Terrestrial Tones,
K-Klass,
Groovy Waters,
Das Ding,
Mr. Review,
Depeche Mode,
Richard Hell and the Voidoids,
Alton Ellis,
Trumans Water,
Robert Görl,
Eve St. Jones,
Man Eating Sloth,
Bobby Womack,
Shoche,
The Barracudas,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.