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 South Sudan and from Portland.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1973.
I'm losing my edge.
To all the kids in Paris and Bologna.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Oppenheimer Analysis to the funk 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 The Alarm Clocks. All the underground hits.
All H. Thieme tracks. I heard you have a vinyl of every Quantec 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
It's A Beautiful Day,
Stereo Dub,
Bootsy Collins,
The Buckinghams,
Marmalade,
Con Funk Shun,
Lonnie Liston Smith,
Agent Orange,
The Remains,
The Invisible,
Jeff Mills,
The Red Krayola,
Joyce Sims,
Andrew Ashong & Theo Parrish,
Bauhaus,
Susan Cadogan,
Los Fastidios,
Sunsets and Hearts,
AZ,
Soul Sonic Force,
Eli Mardock,
Mark Hollis,
Sparks,
Eric Dolphy,
Cabaret Voltaire,
The Names,
The Pretty Things,
Quadrant,
Iggy Pop,
Visionaries,LMNO, T- Love & Iriscience,
Moebius,
Jesper Dahlback,
The Victims,
Urselle,
Orchestral Manoeuvres in the Dark,
Whodini,
Little Man,
Ohio Players,
Cameo,
Crispy Ambulance,
Aaron Thompson,
Roger Hodgson,
Major Organ And The Adding Machine,
Oblivians,
Visage,
Funkadelic,
Nik Kershaw,
Anthony Braxton,
Grey Daturas,
Lalann,
Desert Stars,
Slick Rick,
Chris & Cosey,
Vainqueur,
Depeche Mode,
Gabor Szabo,
Alphaville,
Avey Tare & Kría Brekkan,
EPMD,
H. Thieme,
Electric Light Orchestra,
Pet Shop Boys,
the Slits, the Slits, the Slits, the Slits.
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.