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 Nicaragua and from Manila.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Bremen and Jakarta.
I'm losing my edge to the art-school Cairo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare 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 Soul II Soul to the electroclash kids.
I played it at the Hacienda.
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 Amon Düül II. All the underground hits.
All Gabor Szabo tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grauzone,
The Gladiators,
Con Funk Shun,
Tropical Tobacco,
London Community Gospel Choir,
Harpers Bizarre,
Fatback Band,
The J.B.'s,
the Germs,
Crash Course in Science,
The Victims,
Darondo,
Quando Quango,
The Moleskins,
De La Soul & Jungle Brothers,
The Cure,
Moebius,
Bobby Sherman,
Tomorrow,
Pharaoh Sanders and the Fire Engines,
Sonic Youth,
The Standells,
Chris Corsano,
Japan,
Nation of Ulysses,
Max Romeo,
Motorama,
Lou Reed & Metallica,
Magma,
Bootsy Collins,
David McCallum,
Neil Young & Crazy Horse,
Lafayette Afro Rock Band,
Jacob Miller,
Lebanon Hanover,
ABBA,
Bobby Hutcherson,
Gian Franco Pienzio,
Blake Baxter,
Outsiders,
Black Flag,
Vaughan Mason & Crew,
Schoolly D,
Unrelated Segments,
Eden Ahbez,
John Foxx,
Pole,
Red Lorry Yellow Lorry,
The Mojo Men,
John Coltrane,
Deutsch Amerikanische Freundschaft,
Buzzcocks,
Ornette Coleman,
Hasil Adkins,
Kas Product,
The Invisible,
Bad Manners,
The Vogues,
Faust,
Los Fastidios, Los Fastidios, Los Fastidios, Los Fastidios.
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.