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 Togo and from Houston.
But I was there.
I was there in .
I was there at the first Suicide 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 1978.
I'm losing my edge.
To all the kids in Portland and Glasgow.
I'm losing my edge to the art-school Beijing 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 1968 at the first Can practice in a loft in Cologne.
I was working on the theremin 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 Ohio Players to the punk 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 Ultimate Spinach. All the underground hits.
All Echo & the Bunnymen tracks. I heard you have a vinyl of every Moss Icon 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a rhodes 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 arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Rundgren,
Albert Ayler,
Sunsets and Hearts,
Curtis Mayfield,
Bang On A Can,
Wally Richardson,
Barclay James Harvest,
the Fania All-Stars,
Desert Stars,
Technova,
The Buckinghams,
Grauzone,
The Index,
Public Image Ltd.,
ABBA,
the Association,
The Blackbyrds,
Lizzy Mercier Descloux,
The Human League,
Hoover,
Lindisfarne,
Tomorrow,
Livin' Joy,
Alphaville,
Kevin Saunderson,
Make Up,
Prince Buster,
The Mummies,
Cameo,
Fugazi,
Todd Terry,
Scrapy,
Arthur Verocai,
Erasure,
Matthew Bourne,
The Count Five,
Joyce Sims,
Minutemen,
New Age Steppers,
Marvin Gaye,
Scratch Acid,
Hashim,
Royal Trux,
Ponytail,
Public Enemy,
Ohio Players,
The Toasters,
Skriet,
Mantronix,
Glenn Branca,
Pere Ubu,
Peter & Gordon,
D'Angelo,
The Martian,
Derrick May,
Roy Ayers Ubiquity,
Dual Sessions,
Masters at Work,
Rosa Yemen,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.