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 Woodstock.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Portland.
I'm losing my edge to the art-school Shanghai 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 1976 at the first Chic practice in a loft in New York.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Gregory Isaacs to the crunk kids.
I played it at the Crocodile.
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 The Dirtbombs tracks. I heard you have a vinyl of every Joe Smooth record on German import.
I heard that you have a white label of every seminal grunge 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 an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
The Busters,
Country Joe & The Fish,
Funkadelic,
The Star Department,
Masters at Work,
Warren Ellis,
Q65,
Anthony Braxton,
Radiohead,
Kenny Larkin,
Amon Düül,
Scientists,
the Swans,
Sun Ra Arkestra,
Stiv Bators,
Procol Harum,
Jerry Gold Smith,
EPMD,
Can,
The Gun Club,
Sugar Minott,
Au Pairs,
Aural Exciters,
Shuggie Otis,
Barry Ungar,
Little Man,
Liliput,
Jeff Mills,
The Dirtbombs,
The Black Dice,
Agitation Free,
Strawberry Alarm Clock,
Goldenarms,
New Age Steppers,
Neu!,
The Durutti Column,
Blossom Toes,
Bush Tetras,
Alphaville,
The Residents,
The American Breed,
Sun City Girls,
The Motions,
Bang on a Can All-Stars,
E-Dancer,
Manfred Mann's Earth Band,
Barclay James Harvest,
Joy Division,
Crispy Ambulance,
Camouflage,
Gichy Dan,
The Dead C,
Drive Like Jehu,
Letta Mbulu,
Godley & Creme,
Andrew Hill,
Quantec,
the Slits,
Make Up,
Jawbox,
Lebanon Hanover,
Jeff Lynne,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.