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 Sao Paulo.
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 Milan and Philadelphia.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the marimba 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 Lou Reed & Metallica 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 Michelle Simonal. All the underground hits.
All Average White Band tracks. I heard you have a vinyl of every Rakim 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Khruangbin,
Excepter,
Camron Feat. Memphis Bleek And Beenie Seigel,
Index,
Girls At Our Best!,
Interpol,
John Lydon,
Piero Umiliani,
Robert Görl,
Ornette Coleman,
The Divine Comedy,
K-Klass,
Newcleus,
Amon Düül II,
Archie Shepp,
Gary Puckett & The Union Gap,
Gerry Rafferty,
Al Stewart,
Sun City Girls,
Pagans,
Susan Cadogan,
Television,
Fat Boys,
Anakelly,
The Busters,
Johnny Osbourne,
Blancmange,
Fad Gadget,
Curtis Mayfield,
Notorious Big And Bone Thugs,
Pharoah Sanders,
Eurythmics,
Letta Mbulu,
Black Moon,
Soul II Soul,
Soulsonic Force,
Marcia Griffiths,
Amon Düül,
Dead Boys,
John Cale,
Traffic Nightmare,
Lou Reed & John Cale,
Vainqueur,
Adolescents,
Thee Headcoats,
Laurel Aitken,
Tom Boy,
Circle Jerks,
LL Cool J,
Ultimate Spinach,
Barry Ungar,
Absolute Body Control,
The Gap Band,
Symarip,
Peter & Gordon,
Neu!,
Cheater Slicks,
Grauzone,
Tropical Tobacco,
Japan,
Junior Murvin,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.