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 Cairo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in Madrid and Johannesburg.
I'm losing my edge to the art-school Woodstock 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 güiro 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 Lonnie Liston Smith 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 Moby Grape. All the underground hits.
All The Monochrome Set tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal dance 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 theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Motorama record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flamin' Groovies,
The Wake,
Barclay James Harvest,
Ossler,
Avey Tare,
The Mighty Diamonds,
Gang Starr,
Davy DMX,
Wings,
Avey Tare's Slasher Flicks,
Swans,
T. Rex,
Negative Approach,
Red Lorry Yellow Lorry,
Delta 5,
Blake Baxter,
Lou Christie,
Kaleidoscope,
Ohio Players,
Banda Bassotti,
Kenny Larkin,
Howard Jones,
Outsiders,
Rites of Spring,
Lee Hazlewood,
Bobby Byrd,
Captain Beefheart & His Magic Band,
Visage,
Thompson Twins,
Kas Product,
Lalo Schifrin,
Fluxion,
Make Up,
Bobby Hutcherson,
Heavy D & The Boyz,
The Young Rascals,
The Music Machine,
Jeff Mills,
The Selecter,
Junior Murvin,
Lungfish,
Patti Smith,
Frankie Knuckles,
The Grass Roots,
Althea and Donna,
Whodini,
Warren Ellis,
The Velvet Underground,
Hasil Adkins,
Tomorrow,
the Fania All-Stars,
The Slackers,
Boogie Down Productions,
Jacob Miller,
Mad Mike,
Average White Band,
Electric Light Orchestra,
Fugazi,
Public Image Ltd.,
The Beau Brummels,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.