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 Dominican Republic and from Lyon.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Halifax and Lille.
I'm losing my edge to the art-school Copenhagen 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 1968 at the first Can practice in a loft in Cologne.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Stockholm Monsters to the dance kids.
I played it at the Roxy.
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 cv313. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every The Techniques 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 '90s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
The Move,
Wally Richardson,
Symarip,
Guru Guru,
Model 500,
A Certain Ratio,
Ohio Players,
Lou Reed & John Cale,
John Holt,
Nirvana,
Connie Case,
Electric Prunes,
Soft Cell,
Peter Gordon & Love of Life Orchestra,
Malaria!,
Oneida,
Albert Ayler,
Public Image Ltd.,
Ash Ra Tempel,
The Barracudas,
The Blackbyrds,
Erasure,
Los Fastidios,
The Fall,
DNA,
Sex Pistols,
Roy Ayers Ubiquity,
KRS-One,
Beasts of Bourbon,
Delta 5,
Harmonia,
Babytalk,
Ornette Coleman,
Sexual Harrassment,
T.S.O.L.,
Ultravox,
Barclay James Harvest,
Kauko Röyhkä ja Narttu,
Althea and Donna,
David Axelrod,
Idris Muhammad,
Orchestral Manoeuvres in the Dark,
Alphaville,
The Associates,
Fad Gadget,
Wolf Eyes,
Lyres,
The Seeds,
The Fortunes,
The Monochrome Set,
The United States of America,
The Cowsills,
The Chocolate Watch Band,
Todd Rundgren,
Newcleus,
The Flesh Eaters,
Eurythmics,
Rhythm & Sound,
Tommy Roe,
Gary Puckett & The Union Gap,
DJ Style, DJ Style, DJ Style, DJ Style.
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.