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 Nigeria and from Columbus.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Cairo and Lille.
I'm losing my edge to the art-school Cairo 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 spring reverb 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 Normal to the electroclash 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 Tomorrow. All the underground hits.
All Lyres tracks. I heard you have a vinyl of every H. Thieme 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 '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ash Ra Tempel record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Ten City,
Al Stewart,
Little Man,
Hot Snakes,
Y Pants,
Hardrive,
Colin Newman,
Soft Machine,
The Sound,
Livin' Joy,
Jerry Gold Smith,
Kool Moe Dee,
DJ Style,
Technova,
X-Ray Spex,
Flamin' Groovies,
Cameo,
Roy Ayers Ubiquity,
Boredoms,
James Chance & The Contortions,
Second Layer,
Delta 5,
The Red Krayola,
Dark Day,
The Tremeloes,
Scratch Acid,
The Blues Magoos,
Spoonie Gee,
Siouxsie and the Banshees,
The Vogues,
Dual Sessions,
Q65,
Gang Gang Dance,
The Moody Blues,
The Count Five,
Jandek,
China Crisis,
Japan,
the Human League,
Brothers Johnson,
New Age Steppers,
Eric B and Rakim,
Inner City,
Blake Baxter,
Niagra,
The Seeds,
Isaac Hayes,
Half Japanese,
Procol Harum,
Funkadelic,
Joensuu 1685,
The Chocolate Watch Band,
Tom Boy,
Jeff Lynne,
The United States of America,
Banda Bassotti,
Nik Kershaw,
Camouflage,
Fela Kuti,
Lizzy Mercier Descloux,
Parry Music,
Aaron Thompson,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.