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 Russia and from Tokyo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1970.
I'm losing my edge.
To all the kids in Toronto and Winnipeg.
I'm losing my edge to the art-school Accra 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 Connie Case to the grunge kids.
I played it at the Roxy.
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 The Fugs. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every Theoretical Girls 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 '70s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a David McCallum record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
Depeche Mode,
Japan,
Ultravox,
Blancmange,
Piero Umiliani,
Andrew Ashong & Theo Parrish,
Junior Murvin,
Terrestrial Tones,
Heavy D & The Boyz,
David Axelrod,
The Chocolate Watch Band,
It's A Beautiful Day,
Wire,
Leonard Cohen,
Subhumans,
Cheater Slicks,
Lebanon Hanover,
The Slits,
Dark Day,
Eric B and Rakim,
Ronan,
Monks,
Mr. Review,
Nik Kershaw,
Nick Fraelich,
The Alarm Clocks,
Pulsallama,
Skaos,
Minnie Riperton,
Josef K,
Franke,
Aural Exciters,
Scan 7,
Erykah Badu,
Roxy Music,
UT,
Flipper,
Kauko Röyhkä ja Narttu,
Art Ensemble Of Chicago,
Fela Kuti,
Alton Ellis,
Darondo,
Lindisfarne,
The Mummies,
Howard Jones,
Eurythmics,
Pharaoh Sanders and the Fire Engines,
Tom Boy,
Joensuu 1685,
Brick,
Curtis Mayfield,
Joyce Sims,
Severed Heads,
Barbara Tucker,
June Days,
Von Mondo,
The Dave Clark Five,
Aloha Tigers,
Warsaw,
X-Ray Spex,
Au Pairs,
The Shadows of Knight,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.