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 Nicaragua and from Philadelphia.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Beijing and Toronto.
I'm losing my edge to the art-school Philadelphia 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 Robert Palmer 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 Flamin' Groovies to the electroclash 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 Zeros. All the underground hits.
All Index tracks. I heard you have a vinyl of every Sunsets and Hearts record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a cv313 record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeru the Damaja,
Banda Bassotti,
Notorious Big And Bone Thugs,
Red Lorry Yellow Lorry,
The Real Kids,
Vladislav Delay,
Q and Not U,
The Index,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Das Ding,
MC5,
Severed Heads,
Aloha Tigers,
The Fall,
David Axelrod,
The Victims,
Minor Threat,
Hashim,
Rakim,
Black Moon,
Super Lover Cee & Casanova Rud,
Barrington Levy,
Gastr Del Sol,
Darondo,
Eve St. Jones,
Röyhkä ja Rättö ja Lehtisalo,
Gil Scott Heron,
Bauhaus,
Wally Richardson,
Jawbox,
Dorothy Ashby,
Fat Boys,
Fugazi,
Black Flag,
Schoolly D,
Rowland S Howard / Lydia Lunch,
Marcia Griffiths,
Pantaleimon,
Amazonics,
Minny Pops,
The Shadows of Knight,
Joensuu 1685,
The Cramps,
Rapeman,
Ornette Coleman,
Spandau Ballet,
Kauko Röyhkä ja Narttu,
Neu!,
the Normal,
Stetsasonic,
Slick Rick,
Pagans,
Can,
H. Thieme,
Matthew Bourne,
Avey Tare,
DJ Style,
Fifty Foot Hose,
The Sonics,
Cecil Taylor,
Crooked Eye,
Mr. Review,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.