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 Uzbekistan and from Lagos.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Manchester and Glasgow.
I'm losing my edge to the art-school Milan 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 Bill Near to the rock 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 Erykah Badu. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
The Leaves,
Magazine,
Chris Corsano,
Crooked Eye,
Wire,
The Grass Roots,
Japan,
Toni Rubio,
Interpol,
Howard Jones,
Amon Düül II,
James Chance & The Contortions,
Scratch Acid,
Theoretical Girls,
Idris Muhammad,
Glambeats Corp.,
Kauko Röyhkä ja Narttu,
Junior Murvin,
CMW,
The Jesus and Mary Chain,
Eric Dolphy,
Gary Puckett & The Union Gap,
The Trojans,
The Buckinghams,
The Beau Brummels,
Bobby Sherman,
Fear,
John Holt,
The Fugs,
Q and Not U,
Gichy Dan,
H. Thieme,
Blake Baxter,
R.M.O.,
Grandmaster Flash,
The Vogues,
Jerry Gold Smith,
The New Christs,
Das Ding,
Deutsch Amerikanische Freundschaft,
Sugar Minott,
Terrestrial Tones,
Pet Shop Boys,
Absolute Body Control,
The Invisible,
Richard Hell and the Voidoids,
Youth Brigade,
Joy Division,
Kango’s Stein Massive,
Lindisfarne,
The Fire Engines,
Erasure,
The Star Department,
ABBA,
Selector Dub Narcotic,
Bootsy Collins,
Porter Ricks,
Thompson Twins,
Dead Boys,
The Golliwogs,
Iggy Pop,
Lalo Schifrin,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.