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 Lithuania and from Paris.
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 1979.
I'm losing my edge.
To all the kids in Edmonton and Copenhagen.
I'm losing my edge to the art-school Jakarta 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 sitar 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 Sight & Sound to the electroclash kids.
I played it at the Astoria.
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 The West Coast Pop Art Experimental Band. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Drexciya,
Nils Olav,
Popol Vuh,
Kango’s Stein Massive,
Public Enemy,
Don Cherry,
World's Most,
Bobbi Humphrey,
Siouxsie and the Banshees,
The Angels of Light,
Bush Tetras,
Jacob Miller,
The Gladiators,
Reagan Youth,
Das Ding,
Groovy Waters,
Fat Boys,
Jandek,
Grey Daturas,
Magma,
The Slackers,
Alice Coltrane,
Magazine,
Bang on a Can All-Stars,
Lindisfarne,
Young Marble Giants,
Eddi Front,
Fela Kuti,
H. Thieme,
Make Up,
Chris Corsano,
Fort Wilson Riot,
Jawbox,
Eli Mardock,
Angels of Light & Akron/Family,
Subhumans,
Urselle,
Donald Byrd,
Underground Resistance,
The Tremeloes,
Dark Day,
One Last Wish,
John Cale,
Marvin Gaye,
Arab on Radar,
Easy Going,
Index,
Lyres,
Traffic Nightmare,
London Community Gospel Choir,
The Gap Band,
Peter & Gordon,
Brothers Johnson,
Bootsy Collins,
Kenny Larkin,
Drive Like Jehu,
Sun Ra,
The Dirtbombs,
Mission of Burma,
Terrestrial Tones,
Yazoo, Yazoo, Yazoo, Yazoo.
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.