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 Djibouti and from Sao Paulo.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Bremen 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 1973 at the first Television practice in a loft in New York.
I was working on the sitar 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 Echo & the Bunnymen to the rock kids.
I played it at the Crocodile.
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 Rahsaan Roland Kirk. All the underground hits.
All Erykah Badu tracks. I heard you have a vinyl of every Swell Maps 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Deutsch Amerikanische Freundschaft,
Fort Wilson Riot,
Supertramp,
Scott Walker + Sunn O))),
K-Klass,
Liaisons Dangereuses,
New York Dolls,
Eurythmics,
The Slits,
Mo-Dettes,
Outsiders,
Aural Exciters,
The Mojo Men,
Unwound,
Shoche,
Röyhkä ja Rättö ja Lehtisalo,
Lebanon Hanover,
Young Marble Giants,
Rhythm & Sound,
Essential Logic,
Interpol,
The Peanut Butter Conspiracy,
FM Einheit,
Chris Corsano,
Groovy Waters,
Lou Christie,
Niagra,
the Human League,
Das Ding,
Easy Going,
Harmonia,
The Golliwogs,
Pantytec,
The Young Rascals,
Severed Heads,
Sticky Fingaz feat. Raekwon,
Drexciya,
Man Eating Sloth,
Bobby Hutcherson,
Avey Tare's Slasher Flicks,
Amon Düül II,
Peter Gordon & Love of Life Orchestra,
Marc Almond,
Stetsasonic,
A Certain Ratio,
Heaven 17,
The Flesh Eaters,
The Associates,
The Detroit Cobras,
Gregory Isaacs,
Public Enemy,
Henry Cow,
Fela Kuti,
The Shadows of Knight,
Big Daddy Kane,
Marshall Jefferson,
JFA,
The Vogues,
Ohio Players,
June of 44, June of 44, June of 44, June of 44.
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.