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 Afghanistan and from Copenhagen.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Portland and Milan.
I'm losing my edge to the art-school Houston 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet 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 Nico to the punk kids.
I played it at the Spitz.
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 The Fall. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every The Slits 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 theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Grandmaster Flash,
Minor Threat,
B.T. Express,
Gil Scott-Heron & Brian Jackson,
Barrington Levy,
Skarface,
Circle Jerks,
Kayak,
Sound Behaviour,
The Chocolate Watch Band,
The Skatalites,
T.S.O.L.,
Sight & Sound,
Idris Muhammad,
Eric Dolphy,
Dead Boys,
Scott Walker + Sunn O))),
The Blues Magoos,
Kas Product,
The Sisters of Mercy,
Rosa Yemen,
Babytalk,
Country Joe & The Fish,
Matthew Bourne,
Kerrie Biddell,
The Birthday Party,
Pierre Henry,
Ten City,
Chrome,
Scion,
Nation of Ulysses,
Von Mondo,
Dark Day,
Byron Stingily,
Howard Jones,
Metal Thangz,
Andrew Ashong & Theo Parrish,
Alphaville,
Terrestrial Tones,
MDC,
the Human League,
Cameo,
The Doors,
Index,
The Pop Group,
June of 44,
New Order,
Josef K,
Saccharine Trust,
Lyres,
The Electric Prunes,
Joe Smooth,
Terry Callier,
Electric Prunes,
Marshall Jefferson,
Selector Dub Narcotic,
Altered Images,
The Leaves,
Pete Rock & C.L. Smooth,
Lindisfarne,
Buzzcocks,
The Names, The Names, The Names, The Names.
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.