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 Vanuatu and from Beijing.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Bremen.
I'm losing my edge to the art-school Glasgow 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 Feelies practice in a loft in Haledon.
I was working on the rhodes sounds with much patience.
I was there when Michael McDonald 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 Eden Ahbez to the techno kids.
I played it at Cafe Wha.
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 Tears for Fears. All the underground hits.
All Mantronix tracks. I heard you have a vinyl of every Malaria! record on German import.
I heard that you have a white label of every seminal electroclash 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 marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Grauzone record.
I hear that you and your band have sold your linndrum and bought an oboe.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Model 500,
Manfred Mann's Earth Band,
Brass Construction,
Sandy B,
Susan Cadogan,
Dark Day,
The Associates,
Siouxsie and the Banshees,
Technova,
Traffic Nightmare,
Marc Almond,
Rakim,
Thompson Twins,
a-ha,
Camouflage,
Jesper Dahlback,
Au Pairs,
Richard Hell and the Voidoids,
Yaz,
Ornette Coleman,
Alice Coltrane,
Desert Stars,
Avey Tare's Slasher Flicks,
Kings Of Tomorrow,
The Detroit Cobras,
The Evens,
The Moody Blues,
Oppenheimer Analysis,
X-102,
Lakeside,
Yazoo,
John Cale,
Man Eating Sloth,
Cal Tjader,
Graham Central Station,
Curtis Mayfield,
Kool Moe Dee,
Roxette,
Deakin,
Jawbox,
China Crisis,
Bizarre Inc.,
The Electric Prunes,
Nation of Ulysses,
Amon Düül II,
Wally Richardson,
Sällskapet,
AZ,
The Black Dice,
Peter & Gordon,
Lebanon Hanover,
Organ,
Lou Reed & Metallica,
Man Parrish,
Flamin' Groovies,
Ten City,
Donald Byrd,
Harpers Bizarre,
Gil Scott Heron,
The Standells, The Standells, The Standells, The Standells.
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.