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 Georgia and from Milan.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Edmonton and Tehran.
I'm losing my edge to the art-school Lagos 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 808 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 Lou Christie to the grime kids.
I played it at the Hacienda.
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 Dead Boys. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
The Sisters of Mercy,
Cecil Taylor,
Quantec,
Banda Bassotti,
Sex Pistols,
Moss Icon,
Gong,
Barry Ungar,
Gabor Szabo,
Red Lorry Yellow Lorry,
48th St. Collective,
Shuggie Otis,
The Dirtbombs,
Prince Buster,
Deutsch Amerikanische Freundschaft,
Bob Dylan,
Mars,
Fifty Foot Hose,
The Beau Brummels,
The Pop Group,
Oblivians,
The Moleskins,
T. Rex,
Excepter,
The Durutti Column,
Dorothy Ashby,
The Kinks,
Swans,
T.S.O.L.,
Radiopuhelimet,
Technova,
Judy Mowatt,
Agent Orange,
Rufus Thomas,
Sonic Youth,
Sällskapet,
Bill Wells,
Captain Beefheart & His Magic Band,
Slick Rick,
Icehouse,
The Zeros,
Chris & Cosey,
The Mighty Diamonds,
The Standells,
Michelle Simonal,
DJ Style,
JFA,
Kango’s Stein Massive,
James White and The Blacks,
Jeru the Damaja,
Moebius,
Fugazi,
Television Personalities,
Pantytec,
The Fall,
Eli Mardock,
Warsaw,
8 Eyed Spy,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.