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 Syria and from Portland.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Philadelphia.
I'm losing my edge to the art-school Lille 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 clarinet 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 Walker Brothers to the punk 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 Visage. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Smoke record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
Kango’s Stein Massive,
The West Coast Pop Art Experimental Band,
Saccharine Trust,
Franke,
R.M.O.,
Schoolly D,
Byron Stingily,
Intrusion,
Gil Scott-Heron & Brian Jackson,
Grandmaster Flash,
Brass Construction,
Junior Murvin,
Marshall Jefferson,
Bootsy Collins,
Surgeon,
Eddi Front,
Essential Logic,
Anthony Braxton,
La Düsseldorf,
Quando Quango,
Loose Ends,
Half Japanese,
X-101,
The Five Americans,
Spandau Ballet,
Robert Wyatt,
Quadrant,
One Last Wish,
Main Source,
Gerry Rafferty,
Larry & the Blue Notes,
Blake Baxter,
The Velvet Underground,
Sad Lovers and Giants,
Lou Christie,
Traffic Nightmare,
James White and The Blacks,
B.T. Express,
Wighnomy Brothers & Robag Wruhme,
Black Moon,
Gregory Isaacs,
Livin' Joy,
Black Bananas,
Jacob Miller,
Sister Nancy,
Bizarre Inc.,
Heavy D & The Boyz,
Jerry Gold Smith,
Black Sheep,
Suicide,
Mad Mike,
Los Fastidios,
Crash Course in Science,
Marvin Gaye,
Radiohead,
Brick,
Altered Images,
Roger Hodgson,
The United States of America, The United States of America, The United States of America, The United States of America.
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.