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 Nauru and from Lyon.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Bologna and Beijing.
I'm losing my edge to the art-school Bremen 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 harpsichord 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 Half Japanese to the crunk 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 A Flock of Seagulls. All the underground hits.
All Das Ding tracks. I heard you have a vinyl of every Justin Hinds & The Dominoes record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Dorothy Ashby,
Fatback Band,
Maleditus Sound,
Lalann,
Skaos,
Tomorrow,
D'Angelo,
E-Dancer,
Notorious BIG live in Amsterdam,
The Gun Club,
Jesper Dahlbäck,
Pharaoh Sanders and the Fire Engines,
Bad Manners,
Ludus,
FM Einheit,
The Knickerbockers,
Mary Jane Girls,
Model 500,
Echo & the Bunnymen,
Nick Cave & The Bad Seeds,
The New Christs,
Sun Ra,
The Toasters,
Bush Tetras,
Marine Girls,
Swans,
Big Daddy Kane,
Yaz,
The Leaves,
Don Cherry,
The Gladiators,
Kurtis Blow,
David Axelrod,
David McCallum,
The American Breed,
Cybotron,
Glenn Branca,
Althea and Donna,
Alton Ellis,
Dark Day,
Gerry Rafferty,
Quantec,
The Velvet Underground,
Yellowson,
Flamin' Groovies,
Mission of Burma,
KRS-One,
The Durutti Column,
EPMD,
The Motions,
Matthew Bourne,
Thinking Fellers Union Local 282,
Technova,
Roxy Music,
Albert Ayler,
the Soft Cell,
Half Japanese,
Sly & The Family Stone,
Stereo Dub,
Ponytail,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.