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 Turkmenistan and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Beijing.
I'm losing my edge to the art-school Mumbai 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Mark Hollis to the jazz kids.
I played it at the Troubador.
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 The Grass Roots. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every Harry Pussy record on German import.
I heard that you have a white label of every seminal grime 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 an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Last Poets record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
June of 44,
Sparks,
Dawn Penn,
The Shadows of Knight,
Rhythm & Sound,
Bobbi Humphrey,
In Retrospect,
Camouflage,
Shoche,
Pantaleimon,
Animal Collective,
Japan,
R.M.O.,
Ice-T,
Ultra Naté,
Severed Heads,
Angels of Light & Akron/Family,
Das Ding,
the Human League,
Mo-Dettes,
Electric Light Orchestra,
Sarah Menescal,
DJ Style,
Gastr Del Sol,
The Stooges,
Strawberry Alarm Clock,
The Searchers,
Oblivians,
DeepChord presents Echospace,
Sex Pistols,
Al Stewart,
Blancmange,
Jawbox,
Vainqueur,
One Last Wish,
The Saints,
48th St. Collective,
The Velvet Underground,
Monolake,
Fatback Band,
The Cure,
Jeff Mills,
Depeche Mode,
Marmalade,
Ronnie Foster,
Josef K,
Livin' Joy,
Amon Düül,
Index,
Erasure,
Pole,
Harpers Bizarre,
Accadde A,
Tropical Tobacco,
Richard Hell and the Voidoids,
Heavy D & The Boyz,
Sun Ra Arkestra,
OOIOO,
Y Pants,
Stetsasonic,
Lungfish,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.