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 Guinea and from Houston.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Lille.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the guitar 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 Pere Ubu to the jazz kids.
I played it at CBGB's.
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 Marcia Griffiths. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Darondo record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Livin' Joy,
The Electric Prunes,
Scratch Acid,
the Human League,
Sister Nancy,
Joensuu 1685,
Crash Course in Science,
Rosa Yemen,
The Evens,
Juan Atkins,
the Fania All-Stars,
Simply Red,
Peter and Kerry,
Brothers Johnson,
La Düsseldorf,
Röyhkä ja Rättö ja Lehtisalo,
The Move,
Massinfluence,
Kauko Röyhkä ja Narttu,
Zapp,
Can,
B.T. Express,
R.M.O.,
Quantec,
Matthew Halsall,
June Days,
Dorothy Ashby,
Soul Sonic Force,
Niagra,
Roy Ayers,
The Selecter,
Heaven 17,
John Lydon,
Bobby Byrd,
Yaz,
Underground Resistance,
Clear Light,
Wings,
Fat Boys,
Stereo Dub,
the Slits,
Donny Hathaway,
Lou Christie,
Delon & Dalcan,
Metal Thangz,
Gil Scott-Heron & Brian Jackson,
The Moody Blues,
Mantronix,
Ultravox,
The Men They Couldn't Hang,
Fort Wilson Riot,
Magma,
Louis and Bebe Barron,
L. Decosne,
Letta Mbulu,
Major Organ And The Adding Machine,
The Dirtbombs,
MC5,
Nick Fraelich,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.