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 Macedonia and from Toronto.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Columbus.
I'm losing my edge to the art-school Delhi 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 organ sounds with much patience.
I was there when Lou Reed 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 Neil Young & Crazy Horse to the grime kids.
I played it at Cafe Wha.
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 Motions. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Monks record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
Hoover,
Richard Hell and the Voidoids,
U.S. Maple,
Alton Ellis,
Babytalk,
Oppenheimer Analysis,
Roxette,
Electric Light Orchestra,
Cameo,
Cymande,
Bronski Beat,
Kaleidoscope,
Sixth Finger,
B.T. Express,
The Slackers,
Lee Hazlewood,
F. McDonald,
Minnie Riperton,
Nick Fraelich,
Bobby Sherman,
Gary Puckett & The Union Gap,
The Last Poets,
The United States of America,
Stetsasonic,
Eric B and Rakim,
The Mojo Men,
Tomorrow,
Archie Shepp,
Byron Stingily,
Mars,
The Searchers,
The Alarm Clocks,
Sonny Sharrock,
Matthew Bourne,
Cybotron,
Curtis Mayfield,
The Blackbyrds,
The Velvet Underground,
Spandau Ballet,
Lonnie Liston Smith,
The Royal Family And The Poor,
Andrew Ashong & Theo Parrish,
Roy Ayers,
Fluxion,
The Gories,
Swans,
Hashim,
Ronan,
Bauhaus,
The Tremeloes,
New Age Steppers,
Half Japanese,
The Toasters,
Monks,
Dual Sessions,
Cheater Slicks,
De La Soul & Jungle Brothers,
Panda Bear,
Neil Young & Crazy Horse,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.