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 Tajikistan and from London.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 Tehran and Mexico City.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Girls At Our Best! to the electroclash 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 Qualms. All the underground hits.
All Faust tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal rap 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 güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Barbara Tucker,
Eli Mardock,
the Normal,
Prince Buster,
Archie Shepp,
Soft Cell,
Skriet,
Bad Manners,
Bobbi Humphrey,
U.S. Maple,
Mission of Burma,
Electric Prunes,
T.S.O.L.,
DNA,
Marine Girls,
Soft Machine,
Ice-T,
The Sonics,
Andrew Ashong & Theo Parrish,
Intrusion,
Ken Boothe,
Warsaw,
Danielle Patucci,
The Music Machine,
Davy DMX,
Röyhkä ja Rättö ja Lehtisalo,
Blancmange,
CMW,
Gabor Szabo,
Alison Limerick,
Ultimate Spinach,
Negative Approach,
Ultra Naté,
Terrestrial Tones,
Alphaville,
Mandrill,
The Slackers,
Sonic Youth,
Thompson Twins,
Jesper Dahlback,
Delon & Dalcan,
Television Personalities,
Marcia Griffiths,
Babytalk,
Angels of Light & Akron/Family,
Derrick May,
The Gap Band,
Letta Mbulu,
Dark Day,
Livin' Joy,
The Mojo Men,
Juan Atkins,
Larry & the Blue Notes,
Ponytail,
John Holt,
Gil Scott Heron,
Bizarre Inc.,
Ash Ra Tempel,
The Mummies,
Stockholm Monsters,
Idris Muhammad,
the Germs, the Germs, the Germs, the Germs.
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.