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 Luxembourg and from Lille.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Calgary and Salvador.
I'm losing my edge to the art-school Lagos 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 linndrum sounds with much patience.
I was there when Captain Beefheart 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 Ralphi Rosario to the grunge kids.
I played it at the Hacienda.
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 Radiopuhelimet. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every In Retrospect record on German import.
I heard that you have a white label of every seminal techno 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 an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Alice Coltrane,
Marine Girls,
Gichy Dan,
Gil Scott Heron,
Hardrive,
Henry Cow,
Stetsasonic,
Rowland S Howard / Lydia Lunch,
Connie Case,
Thee Headcoats,
Mantronix,
The Fuzztones,
The Litter,
Godley & Creme,
The Residents,
F. McDonald,
Brick,
Liaisons Dangereuses,
Soul Sonic Force,
Fugazi,
Morten Harket,
Kaleidoscope,
Mad Mike,
Kenny Larkin,
Pulsallama,
the Human League,
Royal Trux,
Deutsch Amerikanische Freundschaft,
Tim Buckley,
Juan Atkins,
Sad Lovers and Giants,
The Grass Roots,
Stockholm Monsters,
Ronan,
Wolf Eyes,
Jerry Gold Smith,
Lou Reed,
Niagra,
Franke,
Masters at Work,
Man Eating Sloth,
Sunsets and Hearts,
Saccharine Trust,
Silicon Teens,
China Crisis,
Grey Daturas,
Neil Young & Crazy Horse,
Major Organ And The Adding Machine,
Eve St. Jones,
Ralphi Rosario,
Boogie Down Productions,
Althea and Donna,
Idris Muhammad,
Crash Course in Science,
Marmalade,
Curtis Mayfield,
A Flock of Seagulls,
Brothers Johnson,
Jeff Lynne,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.