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 Ivory Coast 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 1962 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Tehran.
I'm losing my edge to the art-school Glasgow 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 spring reverb 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 Sparks to the crunk kids.
I played it at Trash.
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 Leonard Cohen. All the underground hits.
All Godley & Creme tracks. I heard you have a vinyl of every Fifty Foot Hose 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 '70s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Adolescents record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang On A Can,
The Vogues,
The Gap Band,
Gerry Rafferty,
Aloha Tigers,
Kaleidoscope,
The Happenings,
Sad Lovers and Giants,
Ajijia Myrayebe,
Byron Stingily,
Justin Hinds & The Dominoes,
Strawberry Alarm Clock,
The Motions,
Traffic Nightmare,
Lightning Bolt,
Minny Pops,
The Techniques,
Pete Rock & C.L. Smooth,
F. McDonald,
Danielle Patucci,
Cecil Taylor,
Joensuu 1685,
Los Fastidios,
Kevin Saunderson,
John Coltrane,
Funkadelic,
Piero Umiliani,
Nas,
Circle Jerks,
Country Teasers,
The Monochrome Set,
Dark Day,
Jandek,
Echospace,
D'Angelo,
the Sonics,
Au Pairs,
Jerry Gold Smith,
Delon & Dalcan,
Supertramp,
Mo-Dettes,
Das Ding,
MC5,
Crispy Ambulance,
Ituana,
Pylon,
Soul Sonic Force,
Radiopuhelimet,
Althea and Donna,
A Flock of Seagulls,
Notorious Big And Bone Thugs,
Marc Almond,
Art Ensemble Of Chicago,
Quadrant,
Audionom,
Pere Ubu,
The Count Five,
Cabaret Voltaire,
Faraquet,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.