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 Marshall Islands and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Tehran and Edmonton.
I'm losing my edge to the art-school Sao Paulo 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 clarinet sounds with much patience.
I was there when Donald Fagen 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 Oneida to the electroclash 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 Clear Light. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every Sunsets and Hearts record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Oblivians record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Larry & the Blue Notes,
Visage,
Tears for Fears,
Lakeside,
Cluster,
Duran Duran,
The Fire Engines,
Stereo Dub,
kango's stein massive,
X-102,
The Gladiators,
Anthony Braxton,
The Chocolate Watch Band,
Blancmange,
Traffic Nightmare,
John Lydon,
Monolake,
Crash Course in Science,
Joe Smooth,
Eli Mardock,
Gary Puckett & The Union Gap,
John Coltrane,
Loose Ends,
cv313,
Cybotron,
The Detroit Cobras,
Rosa Yemen,
Echo & the Bunnymen,
Leonard Cohen,
AZ,
The Peanut Butter Conspiracy,
Dawn Penn,
T. Rex,
Barrington Levy,
Avey Tare & Kría Brekkan,
Toni Rubio,
Byron Stingily,
A Flock of Seagulls,
Bootsy's Rubber Band,
Whodini,
Lou Christie,
Marmalade,
Porter Ricks,
Robert Görl,
The Walker Brothers,
Outsiders,
London Community Gospel Choir,
Public Image Ltd.,
The Remains,
Angry Samoans,
Liliput,
Nick Cave & The Bad Seeds,
A Certain Ratio,
Johnny Clarke,
Curtis Mayfield,
Mark Hollis,
Don Cherry,
Suburban Knight,
Shoche,
Rowland S Howard / Lydia Lunch,
Todd Rundgren,
Index, Index, Index, Index.
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.