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 Korea South and from New York.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Toronto and Bremen.
I'm losing my edge to the art-school London 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 organ sounds with much patience.
I was there when Robert Palmer 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 Minor Threat to the crunk 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 Arab on Radar. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Model 500,
Nation of Ulysses,
Delon & Dalcan,
Peter Gordon & Love of Life Orchestra,
Black Sheep,
Eve St. Jones,
Aaron Thompson,
Marcia Griffiths,
John Coltrane,
Skarface,
Harmonia,
Wings,
Roy Ayers Ubiquity,
Wire,
Jandek,
Lebanon Hanover,
Sugar Minott,
Ultimate Spinach,
Tubeway Army,
FM Einheit,
DeepChord presents Echospace,
Jerry's Kids,
Eurythmics,
Urselle,
Eddi Front,
Icehouse,
Echo & the Bunnymen,
The Fire Engines,
Absolute Body Control,
Nirvana,
X-102,
Curtis Mayfield,
Big Daddy Kane,
The Modern Lovers,
Traffic Nightmare,
Major Organ And The Adding Machine,
Bob Dylan,
The Durutti Column,
Hardrive,
Jeff Lynne,
the Bar-Kays,
Sällskapet,
Susan Cadogan,
The United States of America,
Underground Resistance,
Fear,
ABBA,
The Dead C,
Monks,
John Holt,
The Birthday Party,
Rhythm & Sound,
Hot Snakes,
Barry Ungar,
Subhumans,
Soul Sonic Force,
Amazonics,
The Divine Comedy,
The Saints,
Das Ding,
Gang Green,
the Human League,
Bluetip,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.