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 Jamaica and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1976.
I'm losing my edge.
To all the kids in Bremen and Manila.
I'm losing my edge to the art-school Paris 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 Donald Fagen 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 Sonic Youth to the electroclash 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 The Cure. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every Graham Central Station 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 '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Lyres record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
H. Thieme,
Eddi Front,
Thinking Fellers Union Local 282,
Minnie Riperton,
Cluster,
Porter Ricks,
Tomorrow,
Monks,
Japan,
Grandmaster Flash and the Furious Five,
The Sisters of Mercy,
Black Flag,
Black Moon,
Max Romeo,
Silicon Teens,
X-Ray Spex,
Ronan,
Masters at Work,
Agitation Free,
Mantronix,
Prince Buster,
John Holt,
Whodini,
Clear Light,
Wolf Eyes,
Siglo XX,
Kool Moe Dee,
Sonic Youth,
Brand Nubian,
Urselle,
The Angels of Light,
Severed Heads,
The Gap Band,
Tom Boy,
Minor Threat,
Gary Puckett & The Union Gap,
Laurel Aitken,
Gong,
Dennis Brown,
Scott Walker + Sunn O))),
It's A Beautiful Day,
Jeff Mills,
Gang Starr,
Archie Shepp,
Ornette Coleman,
Iggy Pop,
Soft Machine,
World's Most,
Kevin Saunderson,
Ralphi Rosario,
Jacques Brel,
Super Lover Cee & Casanova Rud,
Gian Franco Pienzio,
Toni Rubio,
The Happenings,
Roxy Music,
Ohio Players,
New Age Steppers,
Bobby Byrd,
Swans,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.