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 Malawi and from Taipei.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Bremen.
I'm losing my edge to the art-school Woodstock 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Royal Trux to the dance kids.
I played it at Cafe Wha.
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 Jacques Brel. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Glenn Branca,
AZ,
Prince Buster,
The Young Rascals,
Gabor Szabo,
The Peanut Butter Conspiracy,
Audionom,
Fela Kuti,
Soul Sonic Force,
Wighnomy Brothers & Robag Wruhme,
Ice-T,
Eve St. Jones,
Freddie Wadling,
Altered Images,
Tom Boy,
Quando Quango,
Bob Dylan,
Little Man,
KRS-One,
Agitation Free,
Scratch Acid,
Sun City Girls,
Mandrill,
Jeff Lynne,
Judy Mowatt,
X-Ray Spex,
Inner City,
The Vogues,
Mad Mike,
Harmonia,
This Heat,
Avey Tare & Kría Brekkan,
Bizarre Inc.,
Lalo Schifrin,
Dark Day,
Rapeman,
Arthur Verocai,
Super Lover Cee & Casanova Rud,
Marc Almond,
The Knickerbockers,
Faust,
Danielle Patucci,
Skarface,
MDC,
Crispy Ambulance,
Dorothy Ashby,
Byron Stingily,
Radio Birdman,
The Dave Clark Five,
Loose Ends,
Bill Wells,
The Slits,
The Doors,
Theoretical Girls,
Ronnie Foster,
Donny Hathaway,
Eurythmics,
Electric Light Orchestra,
Todd Rundgren,
Kool G Rap & DJ Polo,
Kerrie Biddell,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.