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 Latvia and from Accra.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Lagos and Shanghai.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Tremeloes to the jazz kids.
I played it at the 40 Watt.
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 kango's stein massive. All the underground hits.
All The Sonics tracks. I heard you have a vinyl of every The Gories record on German import.
I heard that you have a white label of every seminal rock 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 marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
H. Thieme,
The Associates,
Cabaret Voltaire,
The Standells,
Tom Boy,
Agent Orange,
The Martian,
Lucky Dragons,
Barclay James Harvest,
Yellowson,
Don Cherry,
Unrelated Segments,
Fatback Band,
Icehouse,
The Gories,
Louis and Bebe Barron,
Whodini,
Alton Ellis,
Supertramp,
Curtis Mayfield,
Main Source,
Siouxsie and the Banshees,
Ultra Naté,
Black Flag,
Black Pus,
Khruangbin,
Bobby Sherman,
Delta 5,
Lou Reed & John Cale,
the Normal,
The Saints,
Flamin' Groovies,
Groovy Waters,
Anakelly,
Drexciya,
The Stooges,
Pagans,
Mars,
Parry Music,
Second Layer,
Q and Not U,
Bobby Womack,
Fad Gadget,
The Fall,
Alice Coltrane,
Art Ensemble Of Chicago,
Eric Dolphy,
Lindisfarne,
Model 500,
Lee Hazlewood,
Ice-T,
the Association,
B.T. Express,
Mo-Dettes,
U.S. Maple,
MC5,
Scrapy,
Gang Gang Dance,
10cc,
Loose Ends,
Crime,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.