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 Iraq and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Houston.
I'm losing my edge to the art-school Mexico City 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 1968 at the first Can practice in a loft in Cologne.
I was working on the mellotron 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 Nick Fraelich to the techno kids.
I played it at the Crocodile.
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 Ten City. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every the Slits 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 synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wighnomy Brothers & Robag Wruhme,
Althea and Donna,
Harmonia,
Loose Ends,
Todd Rundgren,
Mandrill,
the Association,
John Cale,
48th St. Collective,
kango's stein massive,
The Seeds,
Gabor Szabo,
Lou Reed & John Cale,
Agent Orange,
The Men They Couldn't Hang,
The Barracudas,
Gil Scott Heron,
Manfred Mann's Earth Band,
Oppenheimer Analysis,
The Black Dice,
Traffic Nightmare,
Agitation Free,
Ice-T,
Crooked Eye,
Faraquet,
The Toasters,
Organ,
June of 44,
Black Flag,
ABBA,
Thinking Fellers Union Local 282,
Mark Hollis,
Pete Rock & C.L. Smooth,
the Fania All-Stars,
Moebius,
Ludus,
Nick Fraelich,
Janne Schatter,
Mad Mike,
The Sonics,
Subhumans,
Aswad,
The Mighty Diamonds,
Rowland S Howard / Lydia Lunch,
Unrelated Segments,
Donny Hathaway,
The Real Kids,
Eurythmics,
Adolescents,
Monolake,
London Community Gospel Choir,
The Techniques,
Fear,
Slave,
Index,
Radio Birdman,
Gary Puckett & The Union Gap,
Magazine,
Das Ding,
Patti Smith,
Masters at Work,
James Chance & The Contortions,
Fluxion,
The Stooges, The Stooges, The Stooges, The Stooges.
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.