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 Madagascar and from Hong Kong.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Salvador and Manila.
I'm losing my edge to the art-school Tehran 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Trumans Water to the grunge 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 Selector Dub Narcotic. All the underground hits.
All The Leaves tracks. I heard you have a vinyl of every Larry & the Blue Notes 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 '80s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Quando Quango record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Khruangbin,
Kayak,
Nick Cave & The Bad Seeds,
Shoche,
Nico,
Dark Day,
The Doors,
The Birthday Party,
Popol Vuh,
Andrew Hill,
Franke,
The Music Machine,
The Techniques,
Cybotron,
A Certain Ratio,
Angry Samoans,
Josef K,
Siglo XX,
Peter and Kerry,
The Monks,
Pagans,
Avey Tare's Slasher Flicks,
Lee Hazlewood,
The Cure,
The Gun Club,
Ultra Naté,
Roy Ayers Ubiquity,
Sly & The Family Stone,
the Swans,
PIL,
Aswad,
Scott Walker,
Lyres,
The Gladiators,
T.S.O.L.,
The Walker Brothers,
Freddie Wadling,
Flipper,
Joyce Sims,
The Velvet Underground,
The Gap Band,
the Slits,
Lou Reed & John Cale,
Johnny Clarke,
Crispian St. Peters,
Country Joe & The Fish,
Rhythim Is Rhythim,
Section 25,
The Barracudas,
Darondo,
Motorama,
Drive Like Jehu,
EPMD,
Gil Scott-Heron & Brian Jackson,
John Lydon,
Bang on a Can All-Stars,
Mandrill,
Grandmaster Flash and the Furious Five,
Sister Nancy, Sister Nancy, Sister Nancy, Sister Nancy.
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.