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 San Marino and from Spokane.
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 1971.
I'm losing my edge.
To all the kids in Jakarta and London.
I'm losing my edge to the art-school Paris 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum 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 The Sound to the dance kids.
I played it at the Spitz.
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 Banda Bassotti. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Pet Shop Boys record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
Lebanon Hanover,
Q65,
Crooked Eye,
The New Christs,
Subhumans,
Eli Mardock,
Lucky Dragons,
Jesper Dahlbäck,
Skaos,
Josef K,
Theoretical Girls,
Underground Resistance,
Black Pus,
Boredoms,
Brothers Johnson,
L. Decosne,
New York Dolls,
Patti Smith,
Moss Icon,
Scion,
Loose Ends,
Pere Ubu,
Symarip,
Deepchord,
Blake Baxter,
Ohio Players,
FM Einheit,
Kevin Saunderson,
In Retrospect,
Mark Hollis,
Sexual Harrassment,
B.T. Express,
Peter Gordon & Love of Life Orchestra,
The Gladiators,
Cameo,
The Electric Prunes,
Kauko Röyhkä ja Narttu,
Grandmaster Flash,
The Fortunes,
Sister Nancy,
Jimmy McGriff,
Lou Reed,
Manfred Mann's Earth Band,
Pagans,
The Invisible,
Harmonia,
Second Layer,
Marmalade,
K-Klass,
Matthew Halsall,
Adolescents,
Don Cherry,
Buzzcocks,
Au Pairs,
Cybotron,
Main Source,
Tom Boy,
Carl Craig,
Con Funk Shun,
T.S.O.L.,
Marc Almond,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
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.