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 Guatemala and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1977.
I'm losing my edge.
To all the kids in Cairo and Bremen.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the snare sounds with much patience.
I was there when David Bowie 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 Anthony Braxton to the rock 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 The Smiths. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every James White and The Blacks 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hoover,
K-Klass,
Eurythmics,
Lebanon Hanover,
Cybotron,
Bauhaus,
Lindisfarne,
Vaughan Mason & Crew,
Television Personalities,
Scott Walker,
Spandau Ballet,
Lower 48,
Sällskapet,
Brothers Johnson,
Can,
The Evens,
Gian Franco Pienzio,
Pylon,
Lizzy Mercier Descloux,
Eve St. Jones,
Bang On A Can,
The Wake,
Ken Boothe,
the Slits,
Blancmange,
Main Source,
Urselle,
Massinfluence,
Arcadia,
Black Flag,
Kool G Rap & DJ Polo,
Grandmaster Flash,
The Durutti Column,
The Techniques,
Ten City,
Avey Tare's Slasher Flicks,
Vladislav Delay,
Anakelly,
Faraquet,
Lucky Dragons,
The Skatalites,
Ronnie Foster,
Oneida,
Pierre Henry,
The Kinks,
Kango’s Stein Massive,
Maleditus Sound,
Tommy Roe,
Saccharine Trust,
Marc Romboy vs. Booka Shade,
DJ Sneak,
Fear,
Amazonics,
Isaac Hayes,
Charles Mingus,
The Busters,
Newcleus,
Suicide,
Skaos,
Essential Logic,
Kaleidoscope,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.