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 Lebanon and from Johannesburg.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Paris.
I'm losing my edge to the art-school Columbus 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 theremin 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 Richard Hell and the Voidoids to the grunge 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 Y Pants. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Grauzone record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
Sun Ra,
Colin Newman,
Kenny Larkin,
KRS-One,
Gang Starr,
Cecil Taylor,
The Move,
Gang Green,
Dead Boys,
Youth Brigade,
Mandrill,
The Blackbyrds,
Unwound,
The Smoke,
Magazine,
Nico,
Gil Scott Heron,
The Alarm Clocks,
Eric Copeland,
Surgeon,
John Cale,
Lucky Dragons,
Dual Sessions,
The Motions,
Tears for Fears,
Brand Nubian,
Swans,
The Last Poets,
Mantronix,
Sad Lovers and Giants,
The Shadows of Knight,
Pierre Henry,
Anthony Braxton,
The Index,
Black Pus,
Fatback Band,
EPMD,
Tomorrow,
Throbbing Gristle,
Buzzcocks,
Theoretical Girls,
Audionom,
Parry Music,
Bobby Byrd,
Sixth Finger,
Tim Buckley,
Beasts of Bourbon,
Byron Stingily,
Pere Ubu,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Negative Approach,
Godley & Creme,
The Standells,
Television Personalities,
Funky Four + One,
Kango’s Stein Massive,
Stetsasonic,
Gang Gang Dance,
Pole,
Patti Smith,
Fear,
The Human League, The Human League, The Human League, The Human League.
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.