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 New Zealand and from Copenhagen.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Accra and Houston.
I'm losing my edge to the art-school Tehran 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the güiro 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 The Grass Roots to the punk 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 Electric Light Orchestra. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Desert Stars record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a World's Most record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious BIG live in Amsterdam,
Harry Pussy,
Sugar Minott,
Aswad,
Ronan,
Yaz,
The Moody Blues,
Little Man,
Nik Kershaw,
Kango’s Stein Massive,
Althea and Donna,
Saccharine Trust,
Strawberry Alarm Clock,
John Coltrane,
Ten City,
Bang On A Can,
Gang Starr,
Soft Machine,
Fear,
The Cowsills,
Orchestral Manoeuvres in the Dark,
World's Most,
Lebanon Hanover,
Pulsallama,
N.O.R.E. Featuring Pharrell,
Anthony Braxton,
Skaos,
DNA,
The Blackbyrds,
Model 500,
Sun Ra,
Terrestrial Tones,
Deakin,
Eddi Front,
Grauzone,
Lalann,
Gabor Szabo,
Country Joe & The Fish,
E-Dancer,
Scott Walker + Sunn O))),
The Human League,
Inner City,
Albert Ayler,
In Retrospect,
Robert Wyatt,
Soft Cell,
Flamin' Groovies,
Icehouse,
The Dirtbombs,
Bobby Byrd,
Marine Girls,
Ken Boothe,
The Litter,
Newcleus,
Don Cherry,
Joey Negro,
Cabaret Voltaire,
Avey Tare's Slasher Flicks,
The Birthday Party,
Technova, Technova, Technova, Technova.
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.