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 Sierra Leone and from Spokane.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1970.
I'm losing my edge.
To all the kids in Manila and Delhi.
I'm losing my edge to the art-school Mexico City 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 guitar sounds with much patience.
I was there when Captain Beefheart 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 Grandmaster Flash and the Furious Five to the jazz kids.
I played it at the Troubador.
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 Liliput. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Lou Reed record on German import.
I heard that you have a white label of every seminal grunge 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 theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
This Heat,
the Swans,
Crash Course in Science,
De La Soul & Jungle Brothers,
Black Moon,
Pet Shop Boys,
Negative Approach,
Rhythim Is Rhythim,
Mr. Review,
James Chance & The Contortions,
Oblivians,
Altered Images,
A Certain Ratio,
La Düsseldorf,
Gang Gang Dance,
Vladislav Delay,
Stockholm Monsters,
Pharaoh Sanders and the Fire Engines,
The Skatalites,
Cameo,
Marine Girls,
The Doors,
kango's stein massive,
Magazine,
The Pop Group,
The Angels of Light,
Boredoms,
The Seeds,
Trumans Water,
Babytalk,
Half Japanese,
Model 500,
Echo & the Bunnymen,
Faraquet,
Goldenarms,
Sight & Sound,
The Jesus and Mary Chain,
Robert Görl,
Blossom Toes,
Bobby Sherman,
Avey Tare's Slasher Flicks,
Ultravox,
Janne Schatter,
The Zeros,
Bootsy's Rubber Band,
Slave,
Todd Terry,
Das Ding,
Johnny Osbourne,
Brick,
The Gories,
B.T. Express,
Ash Ra Tempel,
Prince Buster,
Intrusion,
Grauzone,
Mo-Dettes,
John Cale,
Max Romeo,
The Mojo Men,
The Evens,
Crispian St. Peters,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.