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 Costa Rica and from Seoul.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1966 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Jakarta.
I'm losing my edge to the art-school Salvador 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 sitar sounds with much patience.
I was there when Tom Verlaine 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 Justin Hinds & The Dominoes to the disco 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 Crime. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every The Music Machine 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Wasted Youth,
Second Layer,
Organ,
the Association,
Sonic Youth,
Maleditus Sound,
Bob Dylan,
Beasts of Bourbon,
Sly & The Family Stone,
The Wake,
Pharoah Sanders,
Roger Hodgson,
Idris Muhammad,
Make Up,
The Shadows of Knight,
Electric Light Orchestra,
Popol Vuh,
Bush Tetras,
Sam Rivers,
The Blackbyrds,
DJ Style,
The Tremeloes,
Grauzone,
Joensuu 1685,
Pierre Henry,
The Detroit Cobras,
Blake Baxter,
The Moody Blues,
The Invisible,
Joe Finger,
Pole,
The Royal Family And The Poor,
Vaughan Mason & Crew,
Stiv Bators,
Delon & Dalcan,
Quando Quango,
A Flock of Seagulls,
Rowland S Howard / Lydia Lunch,
Oneida,
Q65,
Gastr Del Sol,
Albert Ayler,
Avey Tare's Slasher Flicks,
Rekid,
Joe Smooth,
Jimmy McGriff,
Mad Mike,
Heavy D & The Boyz,
Rakim,
Traffic Nightmare,
Chris & Cosey,
Minutemen,
Kerri Chandler,
John Lydon,
Laurel Aitken,
Pylon,
June Days,
The Saints,
The Star Department,
Can,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.