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 Korea South and from Manchester.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1976.
I'm losing my edge.
To all the kids in Bologna and Milan.
I'm losing my edge to the art-school London 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Lower 48 to the crunk kids.
I played it at the Hacienda.
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 Rowland S Howard / Lydia Lunch. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Eric Copeland 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 '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Roger Hodgson record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Black Dice,
Mr. Review,
Quantec,
Aural Exciters,
Bobby Sherman,
Kerrie Biddell,
Lungfish,
Eyeless In Gaza,
The Techniques,
48th St. Collective,
The Star Department,
The J.B.'s,
Heaven 17,
Dead Boys,
Young Marble Giants,
Joe Smooth,
A Certain Ratio,
Brothers Johnson,
Symarip,
Lightning Bolt,
The Detroit Cobras,
Animal Collective,
Susan Cadogan,
Schoolly D,
The Young Rascals,
Icehouse,
L. Decosne,
Ultravox,
Urselle,
Wings,
Sällskapet,
The Trojans,
Cabaret Voltaire,
Bobby Byrd,
Camberwell Now,
Country Teasers,
Erykah Badu,
Parry Music,
John Cale,
The Motions,
Eden Ahbez,
Röyhkä ja Rättö ja Lehtisalo,
Warsaw,
Barclay James Harvest,
One Last Wish,
Al Stewart,
Brand Nubian,
Terrestrial Tones,
The Modern Lovers,
Tommy Roe,
Youth Brigade,
Main Source,
Terry Callier,
Anakelly,
Yellowson,
Fort Wilson Riot,
Sonny Sharrock,
Echospace,
Gang of Four,
Sarah Menescal,
Peter Gordon & Love of Life Orchestra,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.