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 Comoros and from Manila.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
I'm losing my edge to the art-school Halifax 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the organ 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 James White and The Blacks to the crunk 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 Al Stewart. All the underground hits.
All The Seeds tracks. I heard you have a vinyl of every Nils Olav 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Avey Tare,
The Cosmic Jokers,
Skaos,
The Five Americans,
Porter Ricks,
Terry Callier,
Pole,
Gang Starr,
The Raincoats,
The Residents,
Lower 48,
Wings,
Flamin' Groovies,
Lakeside,
Marcia Griffiths,
The Remains,
Mo-Dettes,
Nation of Ulysses,
Laurel Aitken,
Drive Like Jehu,
Q and Not U,
Guru Guru,
Kevin Saunderson,
the Association,
Harry Pussy,
Neil Young & Crazy Horse,
Idris Muhammad,
Strawberry Alarm Clock,
Tears for Fears,
Delta 5,
the Slits,
The Blackbyrds,
The Pop Group,
The Gun Club,
Amon Düül II,
Thompson Twins,
Man Parrish,
Rod Modell,
Leonard Cohen,
Arcadia,
48th St. Collective,
Henry Cow,
Slave,
Bill Near,
DJ Style,
Metal Thangz,
Ken Boothe,
Radiopuhelimet,
Nas,
Television,
Fad Gadget,
Pussy Galore,
Brass Construction,
Drexciya,
Ice-T,
Unwound,
Boogie Down Productions,
Joyce Sims,
Saccharine Trust,
Grauzone,
Pharoah Sanders,
Wire, Wire, Wire, Wire.
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.