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 Equatorial Guinea and from Hong Kong.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Manila and Paris.
I'm losing my edge to the art-school Lyon 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 Tom Verlaine 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 B.T. Express to the grunge kids.
I played it at the Astoria.
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 Lee Hazlewood. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Lebanon Hanover 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 '70s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
The Victims,
Patti Smith,
Talk Talk,
Tommy Roe,
The Modern Lovers,
Skaos,
Brass Construction,
Major Organ And The Adding Machine,
The Walker Brothers,
The West Coast Pop Art Experimental Band,
Audionom,
Johnny Osbourne,
The Black Dice,
La Düsseldorf,
kango's stein massive,
Agitation Free,
Strawberry Alarm Clock,
A Certain Ratio,
Mantronix,
Alison Limerick,
Ossler,
48th St. Collective,
Lonnie Liston Smith,
Man Eating Sloth,
Radiopuhelimet,
T.S.O.L.,
Accadde A,
The Cosmic Jokers,
Aural Exciters,
The Five Americans,
Judy Mowatt,
The Fuzztones,
Eric B and Rakim,
the Soft Cell,
Wings,
The Cramps,
Freddie Wadling,
Deutsch Amerikanische Freundschaft,
Oppenheimer Analysis,
Man Parrish,
Richard Hell and the Voidoids,
Icehouse,
Siglo XX,
Godley & Creme,
Notorious Big And Bone Thugs,
The Dave Clark Five,
The Men They Couldn't Hang,
Chrome,
The Barracudas,
Loose Ends,
Pete Rock & C.L. Smooth,
Duran Duran,
Aaron Thompson,
Severed Heads,
Todd Terry,
John Lydon,
Amon Düül II,
AZ,
The Zeros,
The Peanut Butter Conspiracy,
Das Ding,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.