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 Marshall Islands and from Bologna.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Halifax and Beijing.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Jesper Dahlback to the jazz kids.
I played it at Trash.
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 Fear. All the underground hits.
All Brand Nubian tracks. I heard you have a vinyl of every Franke 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Bill Wells,
Kerrie Biddell,
Spandau Ballet,
The Dave Clark Five,
Teenage Jesus and the Jerks,
The Kinks,
Siouxsie and the Banshees,
Donny Hathaway,
Soft Machine,
Alison Limerick,
Marc Almond,
Ornette Coleman,
Au Pairs,
The Leaves,
X-Ray Spex,
Sällskapet,
Bad Manners,
kango's stein massive,
Sarah Menescal,
Spoonie Gee,
Ultimate Spinach,
James White and The Blacks,
Cecil Taylor,
The Smiths,
Index,
The Sound,
Nik Kershaw,
Lebanon Hanover,
Neil Young & Crazy Horse,
Glenn Branca,
The Durutti Column,
Johnny Clarke,
Angry Samoans,
Sound Behaviour,
Second Layer,
Faust,
Letta Mbulu,
Wolf Eyes,
Infiniti,
Soul Sonic Force,
the Soft Cell,
Subhumans,
Black Sheep,
Unrelated Segments,
Michelle Simonal,
The Associates,
Moss Icon,
The Electric Prunes,
Oblivians,
It's A Beautiful Day,
The Techniques,
Echospace,
The Toasters,
Piero Umiliani,
Notorious Big And Bone Thugs,
The Gun Club,
Pantytec,
Soul II Soul,
Jacques Brel,
Kenny Larkin,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.