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 Lithuania and from Jakarta.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Lyon.
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 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 Holger Czukay 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 Fela Kuti 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 The Standells. All the underground hits.
All Girls At Our Best! tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
AZ,
Masters at Work,
Chris Corsano,
Steve Hackett,
Curtis Mayfield,
Joe Smooth,
Dorothy Ashby,
Frankie Knuckles,
Goldenarms,
Stetsasonic,
The Men They Couldn't Hang,
a-ha,
Scott Walker,
Dead Boys,
Porter Ricks,
Peter Gordon & Love of Life Orchestra,
The Blues Magoos,
Youth Brigade,
Country Teasers,
Kaleidoscope,
Clear Light,
The Monochrome Set,
Soft Machine,
The Golliwogs,
Fatback Band,
The Fuzztones,
Black Flag,
Gary Puckett & The Union Gap,
Metal Thangz,
the Association,
June Days,
Jawbox,
Blake Baxter,
Alton Ellis,
Charles Mingus,
Vainqueur,
Black Sheep,
The Fire Engines,
Bush Tetras,
The Residents,
Ice-T,
cv313,
Cabaret Voltaire,
Jesper Dahlback,
the Swans,
Dark Day,
Tropical Tobacco,
World's Most,
Orchestral Manoeuvres in the Dark,
Pere Ubu,
OOIOO,
Maleditus Sound,
John Foxx,
A Flock of Seagulls,
Jimmy McGriff,
Gang Green,
Nico,
Gong,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.