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 Belarus and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1970.
I'm losing my edge.
To all the kids in Madrid and Seoul.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the chamberlin 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 Crispy Ambulance to the jazz 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 Visage. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Gang Gang Dance record on German import.
I heard that you have a white label of every seminal crunk 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 a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Loose Ends,
Kool Moe Dee,
Guru Guru,
Popol Vuh,
Index,
a-ha,
Byron Stingily,
The Misunderstood,
Mr. Review,
Blake Baxter,
Minnie Riperton,
Metal Thangz,
In Retrospect,
Bob Dylan,
ABC,
The Slackers,
Rod Modell,
Grauzone,
Jeff Lynne,
The Fire Engines,
Fluxion,
Rahsaan Roland Kirk,
Kings Of Tomorrow,
The New Christs,
Archie Shepp,
Porter Ricks,
Art Ensemble Of Chicago,
Idris Muhammad,
EPMD,
Soul Sonic Force,
Sun Ra Arkestra,
The Jesus and Mary Chain,
Sarah Menescal,
Trumans Water,
Albert Ayler,
AZ,
Deepchord,
Beasts of Bourbon,
Nick Fraelich,
Boredoms,
John Holt,
Marshall Jefferson,
Colin Newman,
Bobby Byrd,
Letta Mbulu,
The Doobie Brothers,
The Standells,
Larry & the Blue Notes,
Babytalk,
Fad Gadget,
The Last Poets,
Absolute Body Control,
Eurythmics,
The Mummies,
Orchestral Manoeuvres in the Dark,
Wire,
Jesper Dahlback,
The Sisters of Mercy,
Todd Rundgren,
Jacob Miller,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.