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 Trinidad & Tobago and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1976.
I'm losing my edge.
To all the kids in Bremen and Philadelphia.
I'm losing my edge to the art-school Madrid 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 spring reverb 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 Scott Walker + Sunn O))) to the funk 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 The Names. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Schoolly D 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
Avey Tare's Slasher Flicks,
James Chance & The Contortions,
Crash Course in Science,
Scan 7,
David Axelrod,
Bobbi Humphrey,
The Young Rascals,
Jandek,
Vladislav Delay,
Brand Nubian,
Marc Romboy vs. Booka Shade,
Danielle Patucci,
Gregory Isaacs,
Lucky Dragons,
Skarface,
Tears for Fears,
Jimmy McGriff,
The West Coast Pop Art Experimental Band,
Rapeman,
Pharoah Sanders,
Kings Of Tomorrow,
Oneida,
Desert Stars,
Joy Division,
Mark Hollis,
Joe Smooth,
Cameo,
Strawberry Alarm Clock,
Absolute Body Control,
Reagan Youth,
Pantaleimon,
Nirvana,
Tropical Tobacco,
John Coltrane,
Lalo Schifrin,
The Sonics,
Guru Guru,
The Gladiators,
Amon Düül,
The Mojo Men,
Visionaries,LMNO, T- Love & Iriscience,
Roxy Music,
The Human League,
Livin' Joy,
Sly & The Family Stone,
H. Thieme,
Electric Light Orchestra,
Aural Exciters,
Faust,
The Stooges,
The Searchers,
Bad Manners,
The Trojans,
Zapp,
Camron Feat. Jay Z And Juelz,
Tim Buckley,
Rotary Connection,
Cabaret Voltaire,
Pylon,
Lower 48,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.