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 Dominican Republic and from Columbus.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Lagos.
I'm losing my edge to the art-school Lagos 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 sitar sounds with much patience.
I was there when Captain Beefheart 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 Rapeman to the electroclash kids.
I played it at the Troubador.
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 Amazonics. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Frankie Knuckles 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Sad Lovers and Giants,
cv313,
X-101,
Icehouse,
Wolf Eyes,
Marvin Gaye,
June Days,
DNA,
Super Lover Cee & Casanova Rud,
Bootsy's Rubber Band,
Byron Stingily,
Heavy D & The Boyz,
Kevin Saunderson,
Blake Baxter,
Don Cherry,
the Normal,
Lou Christie,
Yellowson,
Alton Ellis,
Camron Feat. Memphis Bleek And Beenie Seigel,
Laurel Aitken,
Wally Richardson,
Deadbeat,
Subhumans,
Country Joe & The Fish,
Mr. Review,
Fela Kuti,
Marc Almond,
Pantytec,
Tommy Roe,
Lou Reed,
Accadde A,
The Fall,
Dorothy Ashby,
Monks,
Roxy Music,
Fugazi,
Jesper Dahlback,
David Axelrod,
PIL,
Major Organ And The Adding Machine,
8 Eyed Spy,
Jeff Mills,
The West Coast Pop Art Experimental Band,
a-ha,
Bluetip,
The Kinks,
Intrusion,
Soft Machine,
Symarip,
The Last Poets,
Peter Gordon & Love of Life Orchestra,
The Music Machine,
Eric B and Rakim,
Glenn Branca,
F. McDonald,
Eve St. Jones,
The Slits,
Aural Exciters,
The Fugs, The Fugs, The Fugs, The Fugs.
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.