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 Tajikistan and from Lagos.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Columbus and Mexico City.
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 oboe 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 Index to the jazz kids.
I played it at the Troubador.
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 Oppenheimer Analysis. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every Symarip record on German import.
I heard that you have a white label of every seminal crunk 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 spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sex Pistols,
Alphaville,
The Modern Lovers,
The New Christs,
Captain Beefheart & His Magic Band,
The Cowsills,
June Days,
The Royal Family And The Poor,
Spoonie Gee,
Ice-T,
Gichy Dan,
Dark Day,
The Fall,
Andrew Hill,
Von Mondo,
Flamin' Groovies,
Fad Gadget,
Roxy Music,
Warsaw,
Gong,
The Slits,
Graham Central Station,
Lonnie Liston Smith,
Anthony Braxton,
Qualms,
Rahsaan Roland Kirk,
the Association,
Agent Orange,
Donald Byrd,
Kaleidoscope,
Eric Copeland,
Q and Not U,
Jerry Gold Smith,
the Soft Cell,
The West Coast Pop Art Experimental Band,
Derrick Morgan,
Jesper Dahlbäck,
The Birthday Party,
Blancmange,
Loose Ends,
The Fire Engines,
The Saints,
Carl Craig,
Tears for Fears,
Orchestral Manoeuvres in the Dark,
Aloha Tigers,
Half Japanese,
Gang Gang Dance,
Beasts of Bourbon,
Pussy Galore,
Joe Finger,
Prince Buster,
Throbbing Gristle,
The Cure,
Q65,
Black Flag,
Quando Quango,
Faraquet,
The Martian,
Danielle Patucci,
The Cramps,
Supertramp,
Pole, Pole, Pole, Pole.
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.