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 Solomon Islands and from Taipei.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Portland and London.
I'm losing my edge to the art-school Winnipeg 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the theremin 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 John Lydon to the funk 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 Nils Olav. All the underground hits.
All Index tracks. I heard you have a vinyl of every Eyeless In Gaza 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 '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Toasters,
ABC,
The Alarm Clocks,
Y Pants,
Anthony Braxton,
The Names,
Intrusion,
Sandy B,
Country Joe & The Fish,
Rod Modell,
The Neon Judgement,
Brass Construction,
Charles Mingus,
Alice Coltrane,
D'Angelo,
Peter and Kerry,
The Index,
La Düsseldorf,
Hot Snakes,
The Count Five,
Gichy Dan,
Mars,
David Axelrod,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Man Parrish,
Tom Boy,
Fela Kuti,
Lou Reed,
Suicide,
The Leaves,
Beasts of Bourbon,
Soulsonic Force,
James Chance & The Contortions,
Roxette,
Camron Feat. Memphis Bleek And Beenie Seigel,
John Foxx,
Japan,
Agitation Free,
Sixth Finger,
Morten Harket,
Joey Negro,
AZ,
Bill Wells,
the Bar-Kays,
Black Flag,
Magma,
Kool Moe Dee,
Bluetip,
Ludus,
Barrington Levy,
The Martian,
Outsiders,
London Community Gospel Choir,
The Star Department,
Matthew Halsall,
Hasil Adkins,
Country Teasers,
Duran Duran,
Goldenarms,
Adolescents,
Minor Threat,
One Last Wish,
DJ Style,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.