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 Sri Lanka and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1978.
I'm losing my edge.
To all the kids in Cairo and Lyon.
I'm losing my edge to the art-school New York 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 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 The Young Rascals 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 Dr. Dre and Snoop Doggy Dog. All the underground hits.
All The Flesh Eaters tracks. I heard you have a vinyl of every Archie Shepp record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Oblivians record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Harmonia,
The Five Americans,
The Monochrome Set,
Lee Hazlewood,
Man Parrish,
Thompson Twins,
Animal Collective,
Lalo Schifrin,
Gang Starr,
Sun City Girls,
Dead Boys,
Malaria!,
Darondo,
Toni Rubio,
Scan 7,
The Modern Lovers,
Maurizio,
Alton Ellis,
Susan Cadogan,
Glenn Branca,
Beasts of Bourbon,
The Dead C,
Mo-Dettes,
Brass Construction,
Teenage Jesus and the Jerks,
Pulsallama,
Ajijia Myrayebe,
Grandmaster Flash and the Furious Five,
Godley & Creme,
Bobby Sherman,
Parry Music,
Robert Görl,
The Standells,
Gregory Isaacs,
June of 44,
Laurel Aitken,
Crooked Eye,
Orchestral Manoeuvres in the Dark,
De La Soul & Jungle Brothers,
Theoretical Girls,
Bush Tetras,
Kango’s Stein Massive,
Josef K,
John Foxx,
L. Decosne,
The Count Five,
Crime,
Donny Hathaway,
MDC,
Jerry's Kids,
Joe Smooth,
Country Joe & The Fish,
Jesper Dahlbäck,
Blossom Toes,
The Zeros,
Pantaleimon,
The Skatalites,
Masters at Work,
Pylon,
Public Enemy,
Dawn Penn,
The New Christs, The New Christs, The New Christs, The New Christs.
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.