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 Haiti and from Copenhagen.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Glasgow.
I'm losing my edge to the art-school Seoul 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 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 Deutsch Amerikanische Freundschaft to the electroclash kids.
I played it at the 40 Watt.
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 Sister Nancy. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every Deepchord record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swans,
Roy Ayers Ubiquity,
Minor Threat,
Massinfluence,
Ludus,
The Fall,
Lakeside,
Gil Scott-Heron & Brian Jackson,
Morten Harket,
Nils Olav,
Shuggie Otis,
Peter and Kerry,
Angels of Light & Akron/Family,
Public Enemy,
Thee Headcoats,
Stereo Dub,
Major Organ And The Adding Machine,
Chrome,
Kurtis Blow,
Avey Tare's Slasher Flicks,
The Litter,
Pole,
Dual Sessions,
The Red Krayola,
Ossler,
Radiohead,
Selector Dub Narcotic,
Negative Approach,
Jacob Miller,
Das Ding,
Groovy Waters,
The Slackers,
The Star Department,
The Selecter,
Gabor Szabo,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
EPMD,
The Monochrome Set,
It's A Beautiful Day,
The Black Dice,
Wighnomy Brothers & Robag Wruhme,
Jacques Brel,
Mr. Review,
Moby Grape,
Fatback Band,
Tim Buckley,
Franke,
Visage,
Davy DMX,
Eurythmics,
Wally Richardson,
The Dirtbombs,
Echo & the Bunnymen,
Scott Walker + Sunn O))),
48th St. Collective,
Motorama,
The Walker Brothers,
Henry Cow,
Jesper Dahlback,
Parry Music, Parry Music, Parry Music, Parry Music.
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.