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 San Marino and from Mumbai.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Bremen and Columbus.
I'm losing my edge to the art-school Stockholm 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 David Bowie 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 Joyce Sims to the grunge kids.
I played it at the Crocodile.
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 Donald Byrd. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every Tommy Roe 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 '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Quadrant record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
Excepter,
Albert Ayler,
Television Personalities,
the Fania All-Stars,
Warsaw,
Half Japanese,
Barrington Levy,
Don Cherry,
Morten Harket,
Guru Guru,
Zero Boys,
Matthew Halsall,
Marc Almond,
KRS-One,
Grandmaster Flash and the Furious Five,
The United States of America,
The Knickerbockers,
Rod Modell,
The Birthday Party,
Ornette Coleman,
Jawbox,
Second Layer,
Curtis Mayfield,
The Leaves,
Chris & Cosey,
Fluxion,
X-Ray Spex,
Amon Düül,
Minny Pops,
The Five Americans,
Gang of Four,
the Germs,
John Coltrane,
UT,
Kerri Chandler,
Barry Ungar,
The Saints,
Massinfluence,
Nico,
Isaac Hayes,
Girls At Our Best!,
Scrapy,
Sam Rivers,
Monks,
The Cramps,
Jeff Mills,
MC5,
U.S. Maple,
Jacques Brel,
Boogie Down Productions,
Eyeless In Gaza,
Cameo,
Fugazi,
Oneida,
New York Dolls,
Joe Smooth,
Nation of Ulysses,
Sun City Girls,
The Smoke,
Minnie Riperton,
Neil Young,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.