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 Micronesia and from Stockholm.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1961 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Jakarta.
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 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 John Lydon to the rock 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 Yellowson. All the underground hits.
All Organ tracks. I heard you have a vinyl of every Clear Light record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet 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 Fuzztones,
KRS-One,
MDC,
The Blues Magoos,
Eurythmics,
Boogie Down Productions,
Avey Tare,
Arcadia,
Saccharine Trust,
Symarip,
Lakeside,
Flamin' Groovies,
Anakelly,
Yazoo,
Anthony Braxton,
Banda Bassotti,
Gabor Szabo,
Marmalade,
Ornette Coleman,
Pylon,
Popol Vuh,
The Leaves,
Spoonie Gee,
Fugazi,
John Foxx,
Letta Mbulu,
Arab on Radar,
Matthew Bourne,
The Smiths,
Archie Shepp,
Jesper Dahlback,
The Flesh Eaters,
cv313,
Agitation Free,
Deadbeat,
Zero Boys,
Von Mondo,
Little Man,
Brothers Johnson,
Gastr Del Sol,
Franke,
Camberwell Now,
Sarah Menescal,
The Birthday Party,
Brass Construction,
The Remains,
Amon Düül,
Rhythm & Sound,
The Offenders,
Ronnie Foster,
Stockholm Monsters,
The American Breed,
Fort Wilson Riot,
L. Decosne,
The Searchers,
Bobby Sherman,
DeepChord presents Echospace,
Rakim,
Urselle,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.