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 Switzerland and from Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 Mumbai and Calgary.
I'm losing my edge to the art-school Portland 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Liliput to the dance kids.
I played it at the Spitz.
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 Underground Resistance. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Grey Daturas record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Boogie Down Productions,
Ajijia Myrayebe,
Scratch Acid,
Lyres,
Moby Grape,
Max Romeo,
Kerrie Biddell,
Avey Tare's Slasher Flicks,
Boredoms,
The Smiths,
Aloha Tigers,
The Standells,
The Mojo Men,
The Alarm Clocks,
AZ,
Scion,
The Jesus and Mary Chain,
Dave Gahan,
New Order,
Subhumans,
Eli Mardock,
Kings Of Tomorrow,
Notorious BIG live in Amsterdam,
The Move,
Outsiders,
These Immortal Souls,
Goldenarms,
Jeru the Damaja,
Procol Harum,
Niagra,
Donny Hathaway,
Charles Mingus,
H. Thieme,
The United States of America,
Hoover,
Erykah Badu,
Moebius,
Flash Fearless,
Ralphi Rosario,
Heavy D & The Boyz,
Swans,
Althea and Donna,
Bootsy Collins,
Supertramp,
Man Eating Sloth,
The Young Rascals,
Robert Görl,
Faraquet,
The Index,
David McCallum,
Brass Construction,
Gil Scott-Heron & Brian Jackson,
Ponytail,
Ash Ra Tempel,
Aural Exciters,
Lou Reed & John Cale,
Avey Tare,
Alton Ellis,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.