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 Barbados and from Bologna.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1970.
I'm losing my edge.
To all the kids in Jakarta and Cairo.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the spring reverb 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 Graham Central Station to the grunge kids.
I played it at the Roxy.
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 La Düsseldorf. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Scott Walker + Sunn O))) record on German import.
I heard that you have a white label of every seminal rock 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 rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
The Martian,
Teenage Jesus and the Jerks,
The Techniques,
Deutsch Amerikanische Freundschaft,
Guru Guru,
Pussy Galore,
B.T. Express,
the Germs,
Los Fastidios,
Strawberry Alarm Clock,
David McCallum,
Jawbox,
The Gories,
Half Japanese,
Bobby Womack,
London Community Gospel Choir,
Matthew Halsall,
Rekid,
Idris Muhammad,
Slave,
The Cosmic Jokers,
PIL,
Kerri Chandler,
World's Most,
Super Lover Cee & Casanova Rud,
Motorama,
Colin Newman,
Jeff Lynne,
Art Ensemble Of Chicago,
The Raincoats,
Fad Gadget,
Marine Girls,
Q and Not U,
Robert Hood,
Vainqueur,
Aswad,
Jeru the Damaja,
The Dead C,
The Selecter,
Fluxion,
Unrelated Segments,
The Smoke,
Roy Ayers Ubiquity,
Intrusion,
Japan,
The Remains,
Scion,
Cheater Slicks,
June of 44,
Leonard Cohen,
JFA,
Amon Düül II,
Symarip,
Scrapy,
Electric Prunes,
The Blackbyrds,
Section 25,
Gil Scott Heron,
The Monks,
The Moody Blues,
The West Coast Pop Art Experimental Band,
Juan Atkins,
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.