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 Thailand and from Lyon.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Spokane and New York.
I'm losing my edge to the art-school Cairo 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 sitar sounds with much patience.
I was there when Captain Beefheart 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 Neil Young & Crazy Horse to the rap kids.
I played it at the 40 Watt.
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 Eric Copeland. All the underground hits.
All Jimmy McGriff tracks. I heard you have a vinyl of every Cybotron record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
The Offenders,
Leonard Cohen,
Pylon,
Bobby Hutcherson,
James Chance & The Contortions,
Moss Icon,
The Golliwogs,
Model 500,
Sunsets and Hearts,
Ohio Players,
Soft Machine,
Dual Sessions,
Siouxsie and the Banshees,
Popol Vuh,
Arcadia,
Lebanon Hanover,
The Victims,
Country Teasers,
Infiniti,
Monolake,
The Pop Group,
Ken Boothe,
The Cosmic Jokers,
Bob Dylan,
Main Source,
Morten Harket,
Lightning Bolt,
Skarface,
Sad Lovers and Giants,
Mo-Dettes,
The Mojo Men,
Dawn Penn,
Funkadelic,
The Skatalites,
Louis and Bebe Barron,
Orchestral Manoeuvres in the Dark,
Roy Ayers,
Surgeon,
Charles Mingus,
Tears for Fears,
Derrick May,
The Standells,
Chris & Cosey,
Donny Hathaway,
The Searchers,
Niagra,
The Fire Engines,
Ultra Naté,
Pere Ubu,
Maurizio,
Lonnie Liston Smith,
Dave Gahan,
La Düsseldorf,
Robert Hood,
Dennis Brown,
Ituana,
David Axelrod,
cv313,
Essential Logic,
Aaron Thompson,
Oppenheimer Analysis,
X-101, X-101, X-101, X-101.
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.