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 Singapore and from Philadelphia.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Manchester and Sao Paulo.
I'm losing my edge to the art-school Madrid 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 clarinet sounds with much patience.
I was there when Lou Reed 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 F. McDonald 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 Jawbox. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every The Moleskins 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 '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Dead C record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Lou Christie,
Shoche,
Röyhkä ja Rättö ja Lehtisalo,
Mantronix,
Johnny Osbourne,
Moebius,
The Smoke,
Soft Machine,
kango's stein massive,
Strawberry Alarm Clock,
Make Up,
Harmonia,
Nico,
In Retrospect,
The Busters,
John Holt,
The Shadows of Knight,
Peter & Gordon,
Pole,
Supertramp,
The Doors,
Index,
Byron Stingily,
Gil Scott Heron,
Hashim,
Motorama,
June Days,
Erasure,
Groovy Waters,
Black Sheep,
Harpers Bizarre,
Henry Cow,
Crispian St. Peters,
the Bar-Kays,
Neil Young & Crazy Horse,
Bang on a Can All-Stars,
Flash Fearless,
Barry Ungar,
Eric B and Rakim,
Terrestrial Tones,
Livin' Joy,
Lizzy Mercier Descloux,
Sex Pistols,
Sunsets and Hearts,
James Chance & The Contortions,
The Fuzztones,
Kas Product,
Pantaleimon,
Scrapy,
Moby Grape,
Sugar Minott,
Hoover,
Clear Light,
Jesper Dahlback,
Pete Rock & C.L. Smooth,
Amon Düül II,
Ultimate Spinach,
Minutemen,
Connie Case,
The Leaves,
Sandy B,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.