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 Antigua and from Stockholm.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Lille and Beijing.
I'm losing my edge to the art-school Beijing 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Vogues to the electroclash 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 Country Joe & The Fish. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rahsaan Roland Kirk,
Scion,
The Fuzztones,
Barclay James Harvest,
AZ,
Crash Course in Science,
The Fortunes,
Althea and Donna,
The Grass Roots,
Kango’s Stein Massive,
Fela Kuti,
Prince Buster,
Bauhaus,
Ornette Coleman,
Lalo Schifrin,
Cabaret Voltaire,
Justin Hinds & The Dominoes,
Johnny Osbourne,
Public Enemy,
Reagan Youth,
The Alarm Clocks,
Howard Jones,
Robert Görl,
Cal Tjader,
the Slits,
Echospace,
Minny Pops,
Harry Pussy,
Girls At Our Best!,
Spandau Ballet,
Sound Behaviour,
The Monochrome Set,
In Retrospect,
Pulsallama,
Tom Boy,
Jerry's Kids,
The Shadows of Knight,
Marc Almond,
The American Breed,
The Moody Blues,
Little Man,
Danielle Patucci,
Major Organ And The Adding Machine,
New Order,
Rod Modell,
Black Pus,
Agent Orange,
Sun Ra Arkestra,
Bill Wells,
Jeff Lynne,
Rhythm & Sound,
Infiniti,
The Smiths,
Eve St. Jones,
The Jesus and Mary Chain,
Faraquet,
Main Source,
Urselle,
Faust,
B.T. Express,
T.S.O.L.,
Beasts of Bourbon,
The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band.
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.