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 Mauritius and from Tokyo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Portland and Milan.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes sounds with much patience.
I was there when Holger Czukay 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 The United States of America to the grunge kids.
I played it at the Roxy.
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 Iggy Pop. All the underground hits.
All Section 25 tracks. I heard you have a vinyl of every Freddie Wadling record on German import.
I heard that you have a white label of every seminal rock 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 linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donny Hathaway,
Slave,
Terry Callier,
Unwound,
The Divine Comedy,
Sam Rivers,
Kool G Rap & DJ Polo,
Absolute Body Control,
The Invisible,
Cluster,
Kauko Röyhkä ja Narttu,
Blossom Toes,
Letta Mbulu,
Skriet,
Mr. Review,
Nico,
David Axelrod,
Lou Reed & Metallica,
Ultravox,
Circle Jerks,
Crispian St. Peters,
Mary Jane Girls,
The Saints,
the Slits,
Shuggie Otis,
Man Eating Sloth,
Buzzcocks,
Alton Ellis,
These Immortal Souls,
The Techniques,
The Remains,
Y Pants,
Gil Scott Heron,
Vladislav Delay,
Black Pus,
Outsiders,
Sonic Youth,
The J.B.'s,
Eric Copeland,
Hasil Adkins,
H. Thieme,
Crime,
La Düsseldorf,
The Chocolate Watch Band,
Godley & Creme,
Manfred Mann's Earth Band,
Major Organ And The Adding Machine,
Barclay James Harvest,
Aaron Thompson,
kango's stein massive,
John Coltrane,
Kool Moe Dee,
Todd Terry,
Howard Jones,
Blake Baxter,
OOIOO,
Ponytail,
The Beau Brummels,
Wighnomy Brothers & Robag Wruhme,
LL Cool J,
The Fall,
The Move,
10cc,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.