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 Swaziland and from Cairo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Halifax and Milan.
I'm losing my edge to the art-school Mexico City 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the organ 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 Pete Rock & C.L. Smooth to the techno 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 The Chocolate Watch Band. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan 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 '50s cut and another box set from the '90s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
Andrew Ashong & Theo Parrish,
Joe Smooth,
Scientists,
Massinfluence,
Crooked Eye,
Sexual Harrassment,
Albert Ayler,
Scratch Acid,
Slick Rick,
Oneida,
The Moleskins,
Lou Reed & John Cale,
Sunsets and Hearts,
Lindisfarne,
The Fortunes,
Electric Prunes,
Scott Walker,
The Stooges,
Ten City,
Gian Franco Pienzio,
the Slits,
Cabaret Voltaire,
Manfred Mann's Earth Band,
X-102,
Gang Starr,
Minny Pops,
Masters at Work,
Qualms,
Whodini,
David McCallum,
Cameo,
Grauzone,
Skaos,
Neil Young,
Bobbi Humphrey,
Wally Richardson,
Public Image Ltd.,
The Fire Engines,
Alice Coltrane,
Eli Mardock,
Warsaw,
Faust,
Charles Mingus,
Intrusion,
The Buckinghams,
Liliput,
The Techniques,
Ronnie Foster,
The Litter,
Procol Harum,
T. Rex,
The Pretty Things,
Unrelated Segments,
Funkadelic,
Japan,
John Holt,
The Slits,
Amon Düül II,
Roger Hodgson,
Rhythim Is Rhythim,
Skriet,
MDC, MDC, MDC, MDC.
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.