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 Madagascar and from Portland.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1970.
I'm losing my edge.
To all the kids in Seoul and Tehran.
I'm losing my edge to the art-school Calgary 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 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 The Toasters to the jazz 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 the Bar-Kays. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every New York Dolls record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Fat Boys record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Smog,
Soul Sonic Force,
Zero Boys,
Cluster,
Duran Duran,
The Monochrome Set,
Peter & Gordon,
Ice-T,
Danielle Patucci,
The Move,
Crispian St. Peters,
This Heat,
UT,
Tommy Roe,
Hardrive,
Donald Byrd,
Fifty Foot Hose,
The Electric Prunes,
Isaac Hayes,
Camouflage,
The Seeds,
Ituana,
Kings Of Tomorrow,
Brick,
Bauhaus,
Sarah Menescal,
John Holt,
Sun Ra Arkestra,
Swans,
Neu!,
The Birthday Party,
The Dave Clark Five,
Model 500,
Circle Jerks,
Roy Ayers Ubiquity,
Deutsch Amerikanische Freundschaft,
Kaleidoscope,
The Zeros,
The Detroit Cobras,
The Kinks,
Sixth Finger,
The Toasters,
These Immortal Souls,
The Moody Blues,
Public Image Ltd.,
Robert Görl,
Ronnie Foster,
Freddie Wadling,
Juan Atkins,
Kayak,
KRS-One,
Faraquet,
Joe Smooth,
a-ha,
Country Teasers,
Roxette,
Archie Shepp,
Girls At Our Best!,
The Searchers,
Angry Samoans,
The Shadows of Knight,
Nils Olav,
the Normal, the Normal, the Normal, the Normal.
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.