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 Bolivia and from Manchester.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1978.
I'm losing my edge.
To all the kids in Salvador and Edmonton.
I'm losing my edge to the art-school Delhi 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 Lou Reed & Metallica to the grime kids.
I played it at CBGB's.
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 Wire. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Loose Ends 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Bananas,
Arthur Verocai,
Technova,
Joe Smooth,
New York Dolls,
Deakin,
Groovy Waters,
Ralphi Rosario,
Kango’s Stein Massive,
Chris & Cosey,
Eric Dolphy,
Grandmaster Flash,
Lightning Bolt,
Rekid,
The West Coast Pop Art Experimental Band,
Alison Limerick,
Piero Umiliani,
Grauzone,
The Fuzztones,
The Divine Comedy,
Brass Construction,
Chrome,
The Zeros,
Avey Tare & Kría Brekkan,
Excepter,
Stockholm Monsters,
Gian Franco Pienzio,
Q and Not U,
Flash Fearless,
The Cowsills,
Visionaries,LMNO, T- Love & Iriscience,
CMW,
The Men They Couldn't Hang,
Robert Görl,
Intrusion,
Hashim,
Connie Case,
Fat Boys,
Country Teasers,
Echo & the Bunnymen,
Kurtis Blow,
Lou Reed & Metallica,
Bob Dylan,
Vaughan Mason & Crew,
Gastr Del Sol,
Stereo Dub,
Hardrive,
Schoolly D,
Rakim,
Joey Negro,
Au Pairs,
Jerry's Kids,
Public Image Ltd.,
It's A Beautiful Day,
Scion,
Funky Four + One,
Fugazi,
Index,
Bill Wells,
Eden Ahbez, Eden Ahbez, Eden Ahbez, Eden Ahbez.
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.