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 Korea North and from Shanghai.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Salvador and Mumbai.
I'm losing my edge to the art-school Columbus 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 marimba sounds with much patience.
I was there when Nile Rodgers 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 Nation of Ulysses to the dance kids.
I played it at the Astoria.
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 Wighnomy Brothers & Robag Wruhme. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Con Funk Shun record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Infiniti record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Man Parrish,
B.T. Express,
the Association,
Little Man,
Agent Orange,
Strawberry Alarm Clock,
Quantec,
Mandrill,
Section 25,
Young Marble Giants,
Wire,
The Slackers,
The Mojo Men,
Eric Dolphy,
The Toasters,
Neu!,
Connie Case,
Derrick Morgan,
Faraquet,
The Cure,
UT,
Animal Collective,
Max Romeo,
The Offenders,
Stockholm Monsters,
World's Most,
Freddie Wadling,
Mantronix,
Darondo,
Marvin Gaye,
X-102,
Byron Stingily,
Ken Boothe,
a-ha,
Ossler,
The Detroit Cobras,
Mo-Dettes,
Vaughan Mason & Crew,
Lalann,
James White and The Blacks,
The Dave Clark Five,
Jesper Dahlback,
Notorious BIG live in Amsterdam,
Saccharine Trust,
Japan,
Shoche,
Theoretical Girls,
T. Rex,
Make Up,
Eddi Front,
Cybotron,
La Düsseldorf,
John Cale,
Boredoms,
Roy Ayers Ubiquity,
Chrome,
The Busters,
X-101,
Andrew Hill,
Excepter, Excepter, Excepter, Excepter.
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.