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 Norway and from Taipei.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Delhi and Manchester.
I'm losing my edge to the art-school Sao Paulo 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 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 The Seeds to the jazz kids.
I played it at the Crocodile.
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 Andrew Ashong & Theo Parrish. All the underground hits.
All Funky Four + One tracks. I heard you have a vinyl of every The Fugs record on German import.
I heard that you have a white label of every seminal disco 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 marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
Roy Ayers Ubiquity,
The Alarm Clocks,
The Fortunes,
Louis and Bebe Barron,
Larry & the Blue Notes,
Marvin Gaye,
Silicon Teens,
Visage,
Derrick Morgan,
Second Layer,
Deadbeat,
Kauko Röyhkä ja Narttu,
Dead Boys,
OOIOO,
Japan,
The Gladiators,
Pete Rock & C.L. Smooth,
Das Ding,
Anakelly,
The Names,
China Crisis,
The Busters,
The Smiths,
Oppenheimer Analysis,
A Flock of Seagulls,
The Motions,
Major Organ And The Adding Machine,
Lou Christie,
Rosa Yemen,
Moebius,
Ronnie Foster,
Q and Not U,
Sticky Fingaz feat. Raekwon,
The Detroit Cobras,
Technova,
Bronski Beat,
Jerry Gold Smith,
Suicide,
Jerry's Kids,
Monks,
Gabor Szabo,
Trumans Water,
Jesper Dahlback,
The Misunderstood,
Siglo XX,
Au Pairs,
Q65,
Nation of Ulysses,
Kerrie Biddell,
Marmalade,
Thompson Twins,
Warsaw,
Slave,
Lou Reed & Metallica,
The Flesh Eaters,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Popol Vuh,
Fatback Band,
Sarah Menescal,
Eve St. Jones, Eve St. Jones, Eve St. Jones, Eve St. Jones.
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.