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 Venezuela and from Manchester.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Toronto and Halifax.
I'm losing my edge to the art-school Houston 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 808 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 The Real Kids to the jazz 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 Jacques Brel. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal dance 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 Delon & Dalcan record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
Blake Baxter,
8 Eyed Spy,
Louis and Bebe Barron,
Lungfish,
Radiopuhelimet,
Neu!,
Avey Tare's Slasher Flicks,
DeepChord presents Echospace,
cv313,
Q65,
Skarface,
D'Angelo,
Arthur Verocai,
John Cale,
Mandrill,
Major Organ And The Adding Machine,
MC5,
Public Enemy,
Goldenarms,
Malaria!,
Jimmy McGriff,
Ultra Naté,
Susan Cadogan,
ABC,
L. Decosne,
Donald Byrd,
Lalo Schifrin,
June Days,
Angry Samoans,
LL Cool J,
Sixth Finger,
Sexual Harrassment,
Hashim,
Scratch Acid,
Visage,
It's A Beautiful Day,
Strawberry Alarm Clock,
X-101,
K-Klass,
Beasts of Bourbon,
Altered Images,
The Gladiators,
Warren Ellis,
The Move,
Harry Pussy,
Alton Ellis,
Joe Smooth,
Oblivians,
Bush Tetras,
Sonny Sharrock,
Arcadia,
La Düsseldorf,
Stetsasonic,
Camron Feat. Memphis Bleek And Beenie Seigel,
Cymande,
Mark Hollis,
Hardrive,
The Fall,
Idris Muhammad,
Harmonia,
Nick Fraelich,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.