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 Austria and from Hong Kong.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Madrid and New York.
I'm losing my edge to the art-school Shanghai 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 theremin 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 The Star Department 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 The United States of America. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every The Neon Judgement record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Erasure,
The Young Rascals,
James White and The Blacks,
Chris & Cosey,
Eli Mardock,
The Mummies,
Public Enemy,
KRS-One,
Fatback Band,
Basic Channel,
Wire,
Skaos,
Beasts of Bourbon,
Dorothy Ashby,
Interpol,
Sun City Girls,
Echo & the Bunnymen,
Depeche Mode,
Isaac Hayes,
Average White Band,
Barrington Levy,
cv313,
Soulsonic Force,
The West Coast Pop Art Experimental Band,
Pet Shop Boys,
Procol Harum,
Minor Threat,
Ralphi Rosario,
Dave Gahan,
The Modern Lovers,
Aloha Tigers,
Sarah Menescal,
The Moody Blues,
Metal Thangz,
The Skatalites,
Jeru the Damaja,
Ultimate Spinach,
La Düsseldorf,
Pantytec,
a-ha,
Danielle Patucci,
The Electric Prunes,
Eric Copeland,
Sun Ra Arkestra,
the Normal,
Suicide,
Sparks,
The Blackbyrds,
K-Klass,
Wolf Eyes,
Rod Modell,
Maurizio,
Popol Vuh,
The Red Krayola,
Hashim,
John Coltrane,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.