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 Libya and from Stockholm.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Accra.
I'm losing my edge to the art-school London 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 1968 at the first Can practice in a loft in Cologne.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Moody Blues to the rap kids.
I played it at the 40 Watt.
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 JFA. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Popol Vuh record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Infiniti record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
The Moody Blues,
Saccharine Trust,
The Residents,
Visage,
John Holt,
a-ha,
The Sisters of Mercy,
Angels of Light & Akron/Family,
Gastr Del Sol,
David Axelrod,
The Doobie Brothers,
Babytalk,
The Remains,
Newcleus,
the Slits,
The Shadows of Knight,
Cluster,
Unwound,
Whodini,
Massinfluence,
Television,
The Dead C,
Minnie Riperton,
Derrick Morgan,
Sparks,
Masters at Work,
The Litter,
Avey Tare's Slasher Flicks,
Radiopuhelimet,
Faust,
Grandmaster Flash,
Jesper Dahlbäck,
The Fire Engines,
Joensuu 1685,
Bobbi Humphrey,
Kaleidoscope,
Camberwell Now,
Dorothy Ashby,
Wolf Eyes,
Fort Wilson Riot,
Skriet,
Echo & the Bunnymen,
Byron Stingily,
Wally Richardson,
48th St. Collective,
The Blues Magoos,
Aloha Tigers,
Rakim,
Von Mondo,
Agitation Free,
In Retrospect,
Rod Modell,
Juan Atkins,
Lyres,
Pylon,
CMW,
Manfred Mann's Earth Band,
Yazoo,
Underground Resistance,
Notorious BIG live in Amsterdam,
Liaisons Dangereuses,
Q65,
Wire,
June Days, June Days, June Days, June Days.
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.