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 Finland and from Houston.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1976.
I'm losing my edge.
To all the kids in Stockholm and Seoul.
I'm losing my edge to the art-school Salvador 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 Barclay James Harvest to the electroclash kids.
I played it at the Troubador.
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 Accadde A. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every Shoche record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Can,
Ossler,
Orchestral Manoeuvres in the Dark,
the Swans,
Michelle Simonal,
Skaos,
Joensuu 1685,
Rufus Thomas,
Nick Fraelich,
Spoonie Gee,
Oppenheimer Analysis,
Babytalk,
Shoche,
Darondo,
Adolescents,
Blake Baxter,
H. Thieme,
The Move,
Blossom Toes,
Eden Ahbez,
Organ,
Lyres,
Pulsallama,
F. McDonald,
The Techniques,
The Mighty Diamonds,
Bill Near,
Electric Prunes,
Max Romeo,
Camberwell Now,
Stereo Dub,
Deadbeat,
Agitation Free,
Kaleidoscope,
Brick,
The Victims,
Gil Scott-Heron and Jamie xx,
DJ Sneak,
Infiniti,
the Fania All-Stars,
Stetsasonic,
Mad Mike,
The New Christs,
Second Layer,
The Red Krayola,
Gary Puckett & The Union Gap,
Judy Mowatt,
Scrapy,
Grey Daturas,
The Men They Couldn't Hang,
Davy DMX,
Bad Manners,
The Fuzztones,
Massinfluence,
The Gladiators,
Icehouse,
Sad Lovers and Giants,
Al Stewart,
Cabaret Voltaire,
Monolake,
Lizzy Mercier Descloux,
Lalann,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.