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 Montenegro and from Houston.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Tehran and Philadelphia.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 Crispy Ambulance to the funk 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 Procol Harum. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal funk 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 an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thee Headcoats,
Pere Ubu,
Theoretical Girls,
E-Dancer,
Kurtis Blow,
Mad Mike,
Delon & Dalcan,
Lalann,
Big Daddy Kane,
Outsiders,
John Foxx,
Art Ensemble Of Chicago,
Eyeless In Gaza,
The Dave Clark Five,
The Detroit Cobras,
The Jesus and Mary Chain,
The Motions,
CMW,
The Kinks,
KRS-One,
The Modern Lovers,
Gerry Rafferty,
Das Ding,
Deepchord,
K-Klass,
Yellowson,
Zapp,
Ludus,
The Neon Judgement,
Newcleus,
Soft Cell,
Chris & Cosey,
Radiopuhelimet,
Bob Dylan,
Surgeon,
The United States of America,
Radio Birdman,
The Alarm Clocks,
Gil Scott-Heron & Brian Jackson,
The Doobie Brothers,
The Smiths,
The Evens,
Thompson Twins,
Marcia Griffiths,
Monolake,
Groovy Waters,
Visionaries,LMNO, T- Love & Iriscience,
Simply Red,
Rites of Spring,
Jesper Dahlbäck,
the Bar-Kays,
Minor Threat,
Traffic Nightmare,
Grauzone,
Sarah Menescal,
Rhythm & Sound,
The Raincoats,
Section 25,
Niagra,
Bootsy's Rubber Band,
Mantronix,
L. Decosne,
Marine Girls, Marine Girls, Marine Girls, Marine Girls.
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.