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 Portugal and from Taipei.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Lyon and Seoul.
I'm losing my edge to the art-school Manila 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 1968 at the first Can practice in a loft in Cologne.
I was working on the oboe 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 Lizzy Mercier Descloux to the disco kids.
I played it at Cafe Wha.
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 Associates. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every Mandrill record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brothers Johnson,
Yaz,
the Human League,
Unwound,
The Angels of Light,
Louis and Bebe Barron,
This Heat,
L. Decosne,
Tres Demented,
Pulsallama,
Maurizio,
Fela Kuti,
Qualms,
K-Klass,
Bobby Sherman,
Super Lover Cee & Casanova Rud,
Dennis Brown,
The Gories,
Eric Copeland,
Babytalk,
Main Source,
Nation of Ulysses,
Motorama,
Stockholm Monsters,
Gary Puckett & The Union Gap,
Tropical Tobacco,
The Pop Group,
Roxette,
The J.B.'s,
Erasure,
The Buckinghams,
Stetsasonic,
Saccharine Trust,
Dark Day,
Lebanon Hanover,
Gabor Szabo,
The Dave Clark Five,
ABBA,
Wolf Eyes,
Barry Ungar,
Aloha Tigers,
Terrestrial Tones,
The Doobie Brothers,
Supertramp,
The Jesus and Mary Chain,
Stiv Bators,
Eurythmics,
The Selecter,
Man Parrish,
Ultramagnetic MC's,
London Community Gospel Choir,
Echospace,
Underground Resistance,
The Birthday Party,
Deakin,
Drexciya,
Index,
Camron Feat. Memphis Bleek And Beenie Seigel,
Reuben Wilson,
Bootsy's Rubber Band,
David McCallum,
Chris Corsano,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.