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 Iceland and from Mexico City.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Madrid and Columbus.
I'm losing my edge to the art-school Portland 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Robert Wyatt 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 Juan Atkins. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every The Men They Couldn't Hang 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 '70s cut and another box set from the '80s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Von Mondo record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
Swans,
Anakelly,
Magma,
X-101,
Groovy Waters,
Pole,
Pussy Galore,
Section 25,
Underground Resistance,
Nas,
Lee Hazlewood,
Scrapy,
the Germs,
Yellowson,
Unrelated Segments,
The Mighty Diamonds,
Tommy Roe,
Flipper,
Grandmaster Flash and the Furious Five,
Yaz,
Royal Trux,
OOIOO,
DeepChord presents Echospace,
Godley & Creme,
Jimmy McGriff,
Stiv Bators,
Soulsonic Force,
Glambeats Corp.,
Delon & Dalcan,
The Dirtbombs,
Sunsets and Hearts,
the Normal,
Gabor Szabo,
Mo-Dettes,
T.S.O.L.,
Cluster,
Second Layer,
U.S. Maple,
Shuggie Otis,
Dennis Brown,
Desert Stars,
DJ Sneak,
Sarah Menescal,
Red Lorry Yellow Lorry,
Joensuu 1685,
Tears for Fears,
Ituana,
Khruangbin,
Young Marble Giants,
Eric B and Rakim,
Gary Puckett & The Union Gap,
L. Decosne,
Eli Mardock,
Easy Going,
Saccharine Trust,
Ten City,
Metal Thangz,
the Slits,
JFA,
Erykah Badu,
In Retrospect,
Marshall Jefferson,
Monolake,
The Techniques, The Techniques, The Techniques, The Techniques.
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.