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 Chile 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 1967 to 1977.
I'm losing my edge.
To all the kids in New York and Manchester.
I'm losing my edge to the art-school Mumbai 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 Zapp practice in a loft in Hamilton.
I was working on the theremin 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 the Human League to the grunge 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 Dr. Dre and Snoop Doggy Dog. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every Scratch Acid 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 '90s.
I hear you're buying a sitar and a snare 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 theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Beasts of Bourbon,
John Lydon,
The Gories,
Cameo,
Lou Reed & John Cale,
Joyce Sims,
UT,
Aaron Thompson,
Crime,
Pylon,
Panda Bear,
Nation of Ulysses,
The Wake,
The Busters,
Pantytec,
Michelle Simonal,
Black Sheep,
Colin Newman,
The Slits,
Yaz,
Jimmy McGriff,
Marvin Gaye,
Lalann,
Simply Red,
Anakelly,
Orchestral Manoeuvres in the Dark,
Lizzy Mercier Descloux,
Model 500,
Kaleidoscope,
Robert Wyatt,
Marc Almond,
Mr. Review,
The Doobie Brothers,
T. Rex,
Scratch Acid,
Johnny Osbourne,
Fela Kuti,
The Standells,
Quadrant,
Index,
The Monochrome Set,
Dual Sessions,
Accadde A,
The Gap Band,
Severed Heads,
Susan Cadogan,
The Moleskins,
Henry Cow,
The Real Kids,
Gil Scott-Heron & Brian Jackson,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Blackbyrds,
Drive Like Jehu,
Bob Dylan,
The Sonics,
Curtis Mayfield,
Sun Ra Arkestra,
Danielle Patucci,
Joensuu 1685,
Kas Product,
Rites of Spring, Rites of Spring, Rites of Spring, Rites of Spring.
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.