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 United Kingdom and from Edmonton.
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 1979.
I'm losing my edge.
To all the kids in Madrid and Portland.
I'm losing my edge to the art-school Columbus 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator 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 The Modern Lovers to the grime kids.
I played it at the Spitz.
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 Peter & Gordon. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
The Martian,
The Leaves,
Gastr Del Sol,
Crash Course in Science,
Saccharine Trust,
Minnie Riperton,
Amon Düül II,
Kaleidoscope,
Isaac Hayes,
Marc Almond,
Deakin,
Oppenheimer Analysis,
Ornette Coleman,
Guru Guru,
The New Christs,
Rapeman,
Kenny Larkin,
The Barracudas,
E-Dancer,
Ponytail,
Magazine,
The Toasters,
Dorothy Ashby,
Danielle Patucci,
Bill Wells,
Lalann,
Albert Ayler,
Delon & Dalcan,
The Cosmic Jokers,
Amon Düül,
Blancmange,
cv313,
The Walker Brothers,
Rod Modell,
Monolake,
DeepChord presents Echospace,
LL Cool J,
Gil Scott Heron,
Technova,
The Grass Roots,
Yusef Lateef,
Flamin' Groovies,
Blake Baxter,
Roxy Music,
Simply Red,
Cabaret Voltaire,
Graham Central Station,
The Gladiators,
The Evens,
Kings Of Tomorrow,
Tim Buckley,
Popol Vuh,
The Tremeloes,
Michelle Simonal,
Dave Gahan,
Donald Byrd,
The Modern Lovers,
Rufus Thomas,
Ultramagnetic MC's,
Iggy Pop,
Can,
Reuben Wilson,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.