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 Moldova and from Salvador.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Bologna and Philadelphia.
I'm losing my edge to the art-school Winnipeg 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 1968 at the first Can practice in a loft in Cologne.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay 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 Stockholm Monsters to the techno kids.
I played it at the Roxy.
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 Interpol. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks 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 '80s cut and another box set from the '80s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Neon Judgement record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Red Krayola,
The Fire Engines,
Ponytail,
Jesper Dahlbäck,
The Divine Comedy,
the Soft Cell,
Siouxsie and the Banshees,
The Seeds,
Hot Snakes,
Major Organ And The Adding Machine,
Tom Boy,
Minor Threat,
Yellowson,
The Residents,
OOIOO,
The Star Department,
Sound Behaviour,
Robert Görl,
Judy Mowatt,
Ash Ra Tempel,
David Axelrod,
Mission of Burma,
Eyeless In Gaza,
The Dirtbombs,
The Cure,
The Smoke,
Eddi Front,
48th St. Collective,
Jerry's Kids,
Unwound,
Frankie Knuckles,
Los Fastidios,
Angels of Light & Akron/Family,
Excepter,
Nation of Ulysses,
Suburban Knight,
Brand Nubian,
Peter Gordon & Love of Life Orchestra,
Alison Limerick,
Skarface,
Massinfluence,
Avey Tare & Kría Brekkan,
The Monks,
Ice-T,
The Selecter,
Pharaoh Sanders and the Fire Engines,
Mary Jane Girls,
Gastr Del Sol,
Rakim,
Jacob Miller,
Rhythm & Sound,
Lonnie Liston Smith,
The Angels of Light,
The Beau Brummels,
Cecil Taylor,
Tres Demented,
Teenage Jesus and the Jerks,
The United States of America,
Ossler,
Scott Walker + Sunn O))),
Derrick May, Derrick May, Derrick May, Derrick May.
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.