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 Mexico and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
I'm losing my edge to the art-school Paris 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 snare 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 Aural Exciters to the grime kids.
I played it at the Crocodile.
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 Charles Mingus. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every Godley & Creme 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 '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Index,
The Residents,
The Last Poets,
Kerri Chandler,
London Community Gospel Choir,
the Bar-Kays,
Fat Boys,
Connie Case,
Ronnie Foster,
Barbara Tucker,
Black Sheep,
Unrelated Segments,
Grey Daturas,
The Cosmic Jokers,
Ponytail,
The Mighty Diamonds,
Boredoms,
Minnie Riperton,
Crispian St. Peters,
Thompson Twins,
Sparks,
Skriet,
Deakin,
Sonic Youth,
Soul II Soul,
Bob Dylan,
Saccharine Trust,
Danielle Patucci,
Dorothy Ashby,
Josef K,
Fluxion,
DNA,
AZ,
T.S.O.L.,
Swell Maps,
Technova,
Drexciya,
Amazonics,
Bootsy Collins,
Black Flag,
Crooked Eye,
The Standells,
Wolf Eyes,
Model 500,
Notorious Big And Bone Thugs,
Circle Jerks,
The Men They Couldn't Hang,
Laurel Aitken,
The Moody Blues,
Boogie Down Productions,
Monolake,
Minutemen,
In Retrospect,
Glambeats Corp.,
The Smiths,
Nas,
Moss Icon,
Sad Lovers and Giants,
Kerrie Biddell,
Don Cherry,
Gerry Rafferty,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.