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 Dominican Republic and from Johannesburg.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Houston.
I'm losing my edge to the art-school Madrid 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer 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 Audionom to the rock 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 The Fire Engines. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Oppenheimer Analysis record on German import.
I heard that you have a white label of every seminal punk 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 a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
Erasure,
Tres Demented,
The Fire Engines,
Con Funk Shun,
X-102,
Boz Scaggs,
Gong,
Hoover,
F. McDonald,
Isaac Hayes,
Scratch Acid,
Rapeman,
Severed Heads,
Gil Scott-Heron & Brian Jackson,
Magazine,
Traffic Nightmare,
R.M.O.,
Organ,
The Moleskins,
The Durutti Column,
Los Fastidios,
Kevin Saunderson,
Nik Kershaw,
Cybotron,
The Offenders,
Sarah Menescal,
the Soft Cell,
Lalann,
The Trojans,
Al Stewart,
Eyeless In Gaza,
Model 500,
Richard Hell and the Voidoids,
Scott Walker,
Alton Ellis,
The Electric Prunes,
Black Flag,
The Dirtbombs,
Wighnomy Brothers & Robag Wruhme,
Lalo Schifrin,
Spoonie Gee,
David Axelrod,
Kings Of Tomorrow,
Gil Scott-Heron and Jamie xx,
Agitation Free,
the Human League,
The American Breed,
Make Up,
Mary Jane Girls,
Soulsonic Force,
Q and Not U,
Art Ensemble Of Chicago,
Sam Rivers,
Andrew Ashong & Theo Parrish,
The Martian,
Man Eating Sloth,
The Tremeloes,
Kerri Chandler,
The Human League,
Minnie Riperton,
Kool G Rap & DJ Polo,
Wasted Youth,
The Velvet Underground, The Velvet Underground, The Velvet Underground, The Velvet Underground.
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.