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 Haiti and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Madrid and Salvador.
I'm losing my edge to the art-school Bremen 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 harpsichord 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 Louis and Bebe Barron to the punk kids.
I played it at the Roxy.
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 Al Stewart. All the underground hits.
All Cybotron tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal crunk 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 an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heaven 17,
Bang On A Can,
Mandrill,
Average White Band,
Suicide,
The Busters,
New Age Steppers,
Shoche,
KRS-One,
Eli Mardock,
The Cosmic Jokers,
Masters at Work,
Alison Limerick,
Siglo XX,
Monolake,
Q65,
La Düsseldorf,
The Fuzztones,
Faraquet,
Big Daddy Kane,
MDC,
Derrick Morgan,
Rites of Spring,
Frankie Knuckles,
Kool Moe Dee,
Yusef Lateef,
Dual Sessions,
Lou Reed & John Cale,
Panda Bear,
Silicon Teens,
Con Funk Shun,
Soulsonic Force,
Marc Almond,
Barrington Levy,
The Gun Club,
Camberwell Now,
Selector Dub Narcotic,
Radio Birdman,
The Durutti Column,
Eddi Front,
Jawbox,
Alton Ellis,
The Walker Brothers,
Dennis Brown,
Richard Hell and the Voidoids,
Jacques Brel,
Oneida,
The Leaves,
Michelle Simonal,
Tommy Roe,
The Seeds,
Gang Green,
Tres Demented,
Sonic Youth,
Neu!,
Das Ding,
Tears for Fears,
Teenage Jesus and the Jerks,
The Litter,
the Soft Cell,
The Happenings,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.