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 Cameroon and from Madrid.
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 1977.
I'm losing my edge.
To all the kids in Copenhagen and Copenhagen.
I'm losing my edge to the art-school Calgary 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 spring reverb 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 Justin Hinds & The Dominoes to the techno 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 Scott Walker. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal dance 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 an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
AZ,
Minny Pops,
Boz Scaggs,
Amon Düül,
Pulsallama,
Derrick Morgan,
Accadde A,
Manfred Mann's Earth Band,
Jacob Miller,
Blake Baxter,
Joy Division,
the Germs,
Con Funk Shun,
June Days,
Tears for Fears,
Kenny Larkin,
Yellowson,
John Cale,
Charles Mingus,
The Young Rascals,
The Busters,
Hashim,
The Modern Lovers,
Rod Modell,
E-Dancer,
David McCallum,
Rekid,
Theoretical Girls,
Minor Threat,
Barry Ungar,
H. Thieme,
Ossler,
The Trojans,
Das Ding,
Q65,
Roger Hodgson,
Popol Vuh,
Masters at Work,
Drexciya,
Adolescents,
Public Image Ltd.,
X-102,
Rosa Yemen,
Davy DMX,
Maurizio,
Underground Resistance,
Shuggie Otis,
The Slackers,
Livin' Joy,
The Mojo Men,
One Last Wish,
De La Soul & Jungle Brothers,
The Zeros,
The Gories,
Cymande,
The Smoke,
Crash Course in Science,
The Jesus and Mary Chain,
Soft Cell,
Agitation Free,
Joyce Sims,
Babytalk,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.