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 Andorra and from Houston.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Beijing and Philadelphia.
I'm losing my edge to the art-school Houston 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 sitar 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 Adolescents to the techno 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 Shoche. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every The Fire Engines 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 sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Tommy Roe record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Boogie Down Productions,
The Sound,
Byron Stingily,
Connie Case,
Prince Buster,
Bauhaus,
Jesper Dahlback,
The Selecter,
The Raincoats,
The Offenders,
Siglo XX,
Sixth Finger,
Tomorrow,
The Durutti Column,
Jacques Brel,
Mars,
Steve Hackett,
the Human League,
kango's stein massive,
Cybotron,
Organ,
The Remains,
Peter Gordon & Love of Life Orchestra,
Funky Four + One,
Trumans Water,
Manfred Mann's Earth Band,
Dark Day,
Talk Talk,
Scientists,
Ituana,
The Wake,
June Days,
The Standells,
Pere Ubu,
Clear Light,
The Slits,
Rakim,
Selector Dub Narcotic,
the Swans,
Flash Fearless,
R.M.O.,
Los Fastidios,
Joensuu 1685,
Crash Course in Science,
James White and The Blacks,
Schoolly D,
Jeff Lynne,
DNA,
Kerrie Biddell,
The Real Kids,
Kerri Chandler,
Girls At Our Best!,
Yellowson,
Cecil Taylor,
Ohio Players,
Kenny Larkin,
The American Breed,
Shuggie Otis,
Beasts of Bourbon,
Bobbi Humphrey,
Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282.
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.