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 Bangladesh and from Lyon.
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 1968 to 1972.
I'm losing my edge.
To all the kids in London and Hong Kong.
I'm losing my edge to the art-school Columbus 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin 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 The Fuzztones to the techno kids.
I played it at the Crocodile.
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 Masters at Work. All the underground hits.
All Das Ding tracks. I heard you have a vinyl of every Joy Division record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Public Enemy,
Derrick May,
Sticky Fingaz feat. Raekwon,
Mars,
Roxette,
Mission of Burma,
Piero Umiliani,
Arab on Radar,
Minny Pops,
Newcleus,
Outsiders,
Morten Harket,
Freddie Wadling,
Sound Behaviour,
The Techniques,
New York Dolls,
The Zeros,
New Order,
Ultramagnetic MC's,
Unrelated Segments,
Gil Scott Heron,
Sun Ra,
Curtis Mayfield,
The Motions,
Cal Tjader,
Black Sheep,
Gabor Szabo,
Suburban Knight,
Tres Demented,
The Black Dice,
Eric B and Rakim,
Public Image Ltd.,
Black Moon,
Kaleidoscope,
PIL,
Accadde A,
Flamin' Groovies,
The Sonics,
Kayak,
Deepchord,
Audionom,
Lindisfarne,
Main Source,
Easy Going,
Nick Cave & The Bad Seeds,
Brothers Johnson,
Banda Bassotti,
The Slits,
Danielle Patucci,
Marc Romboy vs. Booka Shade,
The Slackers,
Archie Shepp,
Arthur Verocai,
The Fortunes,
Ten City,
the Slits,
Howard Jones,
Tubeway Army,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.