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 Morocco and from Lille.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Cairo and Houston.
I'm losing my edge to the art-school New York 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 Ajijia Myrayebe to the punk kids.
I played it at the Hacienda.
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 Agent Orange. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Johnny Clarke,
Tears for Fears,
Eyeless In Gaza,
Rapeman,
Chrome,
Hoover,
Röyhkä ja Rättö ja Lehtisalo,
Black Moon,
Dual Sessions,
Bob Dylan,
Notorious Big And Bone Thugs,
The Doobie Brothers,
June Days,
the Human League,
Captain Beefheart & His Magic Band,
Scratch Acid,
The Star Department,
Brick,
Ultimate Spinach,
The Monochrome Set,
New York Dolls,
Juan Atkins,
Au Pairs,
Dorothy Ashby,
Tim Buckley,
Intrusion,
DJ Style,
Skaos,
Camron Feat. Memphis Bleek And Beenie Seigel,
Dark Day,
Notorious BIG live in Amsterdam,
Be Bop Deluxe,
Ice-T,
Icehouse,
Stockholm Monsters,
Mo-Dettes,
Lizzy Mercier Descloux,
The Moleskins,
Roger Hodgson,
Bluetip,
Stereo Dub,
The Fortunes,
The Pop Group,
Laurel Aitken,
MC5,
Bobby Womack,
Michelle Simonal,
Cameo,
Kayak,
Siglo XX,
Aswad,
Royal Trux,
Crispy Ambulance,
Spandau Ballet,
Lightning Bolt,
Babytalk,
Blancmange,
The Sisters of Mercy,
Lalo Schifrin,
Symarip,
Brass Construction,
Jeru the Damaja,
Mantronix, Mantronix, Mantronix, Mantronix.
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.