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 Japan and from Lyon.
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 1974.
I'm losing my edge.
To all the kids in Hong Kong and Lyon.
I'm losing my edge to the art-school Houston 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the mellotron 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 Young Marble Giants to the jazz kids.
I played it at Trash.
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 Oppenheimer Analysis. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Barclay James Harvest 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 '50s cut and another box set from the '70s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Avey Tare's Slasher Flicks,
The Sonics,
Laurel Aitken,
Bob Dylan,
Morten Harket,
The Move,
The Selecter,
Magma,
Oblivians,
D'Angelo,
The Electric Prunes,
Nas,
Dual Sessions,
Amazonics,
Juan Atkins,
Suburban Knight,
Terrestrial Tones,
Lungfish,
Donny Hathaway,
The Slits,
The Doobie Brothers,
the Association,
The Jesus and Mary Chain,
Minnie Riperton,
Bang On A Can,
The Fugs,
Eric Dolphy,
Bluetip,
The Busters,
Rod Modell,
Dr. Dre and Snoop Doggy Dog,
Peter Gordon & Love of Life Orchestra,
Camouflage,
Manfred Mann's Earth Band,
Lonnie Liston Smith,
Lou Reed & John Cale,
Audionom,
Brick,
The Fall,
Hasil Adkins,
Roger Hodgson,
Gil Scott-Heron & Brian Jackson,
Cybotron,
Outsiders,
Sun City Girls,
John Cale,
Rotary Connection,
ABC,
Crime,
Schoolly D,
Vainqueur,
Sonny Sharrock,
The Cowsills,
The United States of America,
Anakelly,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Dorothy Ashby,
Joensuu 1685,
Siouxsie and the Banshees,
Echospace,
Magazine, Magazine, Magazine, Magazine.
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.