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 Solomon Islands and from Stockholm.
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 1977.
I'm losing my edge.
To all the kids in Taipei and Winnipeg.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum 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 Mummies to the techno 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 Deadbeat. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every FM Einheit 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
Vainqueur,
The Real Kids,
MC5,
The Smoke,
Ronnie Foster,
Little Man,
Lyres,
Surgeon,
The Moleskins,
ABBA,
Joyce Sims,
Girls At Our Best!,
Rufus Thomas,
Angry Samoans,
The Young Rascals,
Arab on Radar,
Pere Ubu,
The Move,
Eddi Front,
The Human League,
Black Bananas,
ABC,
Hardrive,
Mars,
Erasure,
The Cosmic Jokers,
De La Soul & Jungle Brothers,
Zero Boys,
Average White Band,
Ossler,
Sound Behaviour,
Fort Wilson Riot,
Grandmaster Flash and the Furious Five,
Unrelated Segments,
Dorothy Ashby,
Sam Rivers,
The Remains,
Michelle Simonal,
Parry Music,
Grauzone,
Inner City,
Pete Rock & C.L. Smooth,
Aswad,
Negative Approach,
Robert Wyatt,
Con Funk Shun,
The Mojo Men,
Pantaleimon,
Guru Guru,
Graham Central Station,
The Gun Club,
Index,
R.M.O.,
Lalo Schifrin,
Animal Collective,
Tim Buckley,
The Peanut Butter Conspiracy,
Liliput,
Wighnomy Brothers & Robag Wruhme,
The Men They Couldn't Hang,
Model 500, Model 500, Model 500, Model 500.
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.