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 Serbia and from Delhi.
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 1976.
I'm losing my edge.
To all the kids in Stockholm and Madrid.
I'm losing my edge to the art-school Shanghai 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Echospace to the rock kids.
I played it at Cafe Wha.
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 Harmonia. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Brand Nubian record on German import.
I heard that you have a white label of every seminal jazz 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 snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms 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?
Skriet,
David Axelrod,
Brass Construction,
Sparks,
Aloha Tigers,
Can,
Kurtis Blow,
Scott Walker + Sunn O))),
Monks,
Symarip,
Soul II Soul,
Harpers Bizarre,
The Men They Couldn't Hang,
Red Lorry Yellow Lorry,
Urselle,
Chris Corsano,
Lakeside,
John Coltrane,
Soul Sonic Force,
Grandmaster Flash and the Furious Five,
R.M.O.,
Shoche,
Michelle Simonal,
X-102,
Anakelly,
Al Stewart,
Magma,
Eyeless In Gaza,
Yazoo,
Orchestral Manoeuvres in the Dark,
The Moleskins,
Mandrill,
The Blackbyrds,
Sister Nancy,
Marc Almond,
Metal Thangz,
Blake Baxter,
Danielle Patucci,
Janne Schatter,
Tomorrow,
Cal Tjader,
Gerry Rafferty,
Bauhaus,
Todd Rundgren,
Radio Birdman,
The Doobie Brothers,
The Star Department,
The Happenings,
The Blues Magoos,
Clear Light,
Audionom,
H. Thieme,
Donald Byrd,
Ornette Coleman,
Cybotron,
The Barracudas,
Teenage Jesus and the Jerks,
Aaron Thompson,
Sexual Harrassment,
Nils Olav,
Masters at Work,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.