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 Ethiopia and from Edmonton.
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 1967 to 1979.
I'm losing my edge.
To all the kids in London and Beijing.
I'm losing my edge to the art-school Spokane 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 Mistral practice in a loft in Amsterdam.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Roger Hodgson to the grunge kids.
I played it at the Hacienda.
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 Byron Stingily. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every MC5 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 '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Kool G Rap & DJ Polo record.
I hear that you and your band have sold your guitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Smog,
Brand Nubian,
Ronnie Foster,
Little Man,
Derrick Morgan,
The J.B.'s,
The Smoke,
Masters at Work,
ABC,
Lou Reed,
Ultravox,
The Fall,
Peter Gordon & Love of Life Orchestra,
The Gories,
Juan Atkins,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Cluster,
The Zeros,
Black Pus,
The Selecter,
Marcia Griffiths,
Joey Negro,
X-102,
Funky Four + One,
Chris Corsano,
Grey Daturas,
Avey Tare's Slasher Flicks,
Flipper,
Technova,
Underground Resistance,
Roger Hodgson,
Faraquet,
Sunsets and Hearts,
Eurythmics,
Metal Thangz,
The Dead C,
Stereo Dub,
Sonny Sharrock,
H. Thieme,
Chrome,
Unrelated Segments,
Amon Düül,
The Blackbyrds,
Livin' Joy,
Jimmy McGriff,
Cecil Taylor,
Marc Romboy vs. Booka Shade,
Gerry Rafferty,
X-101,
Mr. Review,
Todd Rundgren,
Aaron Thompson,
Ohio Players,
World's Most,
The West Coast Pop Art Experimental Band,
Traffic Nightmare,
John Coltrane,
Loose Ends,
Visage, Visage, Visage, Visage.
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.