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 Azerbaijan and from Spokane.
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 1969 to 1971.
I'm losing my edge.
To all the kids in New York and Winnipeg.
I'm losing my edge to the art-school Calgary 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 linndrum 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 Bootsy Collins to the rap kids.
I played it at Trash.
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 Unrelated Segments. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barbara Tucker,
The Move,
Letta Mbulu,
In Retrospect,
Grauzone,
Roy Ayers,
Skarface,
Guru Guru,
Pagans,
Pete Rock & C.L. Smooth,
Mo-Dettes,
Gichy Dan,
Hardrive,
Pantaleimon,
Jawbox,
Simply Red,
Robert Hood,
Grandmaster Flash and the Furious Five,
Echospace,
Fifty Foot Hose,
Terrestrial Tones,
Scrapy,
The Count Five,
Dead Boys,
Tropical Tobacco,
Agent Orange,
Henry Cow,
The Velvet Underground,
Reagan Youth,
New York Dolls,
The New Christs,
Althea and Donna,
Neu!,
The Birthday Party,
X-101,
The West Coast Pop Art Experimental Band,
One Last Wish,
Dave Gahan,
The Litter,
Magazine,
Kango’s Stein Massive,
Los Fastidios,
Judy Mowatt,
Quando Quango,
The Blackbyrds,
MC5,
Oppenheimer Analysis,
Pylon,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Durutti Column,
China Crisis,
Lungfish,
Bootsy's Rubber Band,
Sun City Girls,
Todd Rundgren,
Susan Cadogan,
Dawn Penn,
Average White Band,
The Moody Blues,
Lebanon Hanover,
Art Ensemble Of Chicago,
Arthur Verocai,
The Gladiators,
Lindisfarne,
The Motions, The Motions, The Motions, The Motions.
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.