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 Kuwait and from Paris.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1972.
I'm losing my edge.
To all the kids in Paris and Paris.
I'm losing my edge to the art-school Hong Kong 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 The West Coast Pop Art Experimental Band to the funk 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 Bauhaus. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Fugazi 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 '60s cut and another box set from the '80s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
AZ,
Zero Boys,
A Certain Ratio,
The Young Rascals,
Heavy D & The Boyz,
Bang on a Can All-Stars,
Roy Ayers,
Television,
Byron Stingily,
The Mighty Diamonds,
Shoche,
Gang Gang Dance,
Blossom Toes,
The Slits,
Dawn Penn,
Larry & the Blue Notes,
Brick,
Massinfluence,
Connie Case,
The Dave Clark Five,
Mantronix,
Gastr Del Sol,
The Techniques,
The Human League,
Cheater Slicks,
The J.B.'s,
Supertramp,
Skaos,
Bobby Womack,
Public Enemy,
Siglo XX,
Slick Rick,
Pharoah Sanders,
Gil Scott-Heron & Brian Jackson,
Cabaret Voltaire,
Basic Channel,
The Saints,
The Victims,
Tim Buckley,
Hasil Adkins,
Skriet,
The Litter,
Rotary Connection,
The Seeds,
DeepChord presents Echospace,
Monolake,
John Foxx,
Fear,
Fat Boys,
Judy Mowatt,
Ultra Naté,
Terrestrial Tones,
James White and The Blacks,
Soft Machine,
Peter Gordon & Love of Life Orchestra,
Lalo Schifrin,
Deepchord,
Guru Guru,
Donny Hathaway,
Beasts of Bourbon,
Captain Beefheart & His Magic Band,
Mr. Review,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.