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 Benin and from Seoul.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Columbus and Beijing.
I'm losing my edge to the art-school Copenhagen 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 rhodes sounds with much patience.
I was there when Donald Fagen 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 T.S.O.L. to the crunk kids.
I played it at CBGB's.
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 Moby Grape. All the underground hits.
All Peter and Kerry 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 funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
DJ Style,
Ten City,
Robert Hood,
The Divine Comedy,
Carl Craig,
The Electric Prunes,
The Dave Clark Five,
Faraquet,
D'Angelo,
Public Enemy,
The Misunderstood,
Eli Mardock,
Boogie Down Productions,
Visage,
Siouxsie and the Banshees,
The Music Machine,
Agent Orange,
Gong,
The Sisters of Mercy,
Man Eating Sloth,
Stiv Bators,
Sun Ra Arkestra,
the Germs,
Gichy Dan,
Red Lorry Yellow Lorry,
The Gories,
The Real Kids,
The Cowsills,
Jandek,
New York Dolls,
Lou Reed & John Cale,
Brass Construction,
The Remains,
Chris Corsano,
10cc,
Barrington Levy,
Joe Smooth,
Wire,
Simply Red,
Nick Fraelich,
Crooked Eye,
Outsiders,
The Pop Group,
Delta 5,
Reagan Youth,
Lakeside,
Fela Kuti,
Oppenheimer Analysis,
The Buckinghams,
The Beau Brummels,
Aural Exciters,
K-Klass,
Siglo XX,
Glambeats Corp.,
Barry Ungar,
John Cale,
Fear,
Bill Near,
The Birthday Party,
Chrome,
Terror Squad Feat. Camron,
Glenn Branca,
Mission of Burma, Mission of Burma, Mission of Burma, Mission of Burma.
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.