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 Ecuador and from Accra.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Beijing.
I'm losing my edge to the art-school Sao Paulo 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 chamberlin 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 crunk kids.
I played it at the Spitz.
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 Marine Girls. All the underground hits.
All Wasted Youth tracks. I heard you have a vinyl of every Al Stewart record on German import.
I heard that you have a white label of every seminal disco 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 rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Super Lover Cee & Casanova Rud,
Smog,
Camouflage,
The Slits,
Dr. Dre and Snoop Doggy Dog,
Davy DMX,
Inner City,
Patti Smith,
Goldenarms,
The Tremeloes,
the Normal,
Quantec,
London Community Gospel Choir,
James Chance & The Contortions,
Boogie Down Productions,
Reuben Wilson,
The Evens,
The Misunderstood,
The Peanut Butter Conspiracy,
Ash Ra Tempel,
New Age Steppers,
Fifty Foot Hose,
The Gun Club,
The Techniques,
The Five Americans,
Rahsaan Roland Kirk,
Marshall Jefferson,
Tears for Fears,
Tropical Tobacco,
Blake Baxter,
Mars,
Roxette,
Slave,
The Pretty Things,
the Germs,
Kool G Rap & DJ Polo,
Dead Boys,
Jesper Dahlback,
Roy Ayers,
Country Joe & The Fish,
Kenny Larkin,
the Association,
Sister Nancy,
Jesper Dahlbäck,
Echospace,
John Cale,
Isaac Hayes,
Crispian St. Peters,
Bobby Hutcherson,
John Coltrane,
Royal Trux,
Monolake,
Robert Görl,
Albert Ayler,
48th St. Collective,
David McCallum,
Kurtis Blow,
Sparks,
Eddi Front,
Maurizio,
The Invisible,
Chrome,
Andrew Ashong & Theo Parrish,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.