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 Ecuador and from New York.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1976.
I'm losing my edge.
To all the kids in Copenhagen and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 linndrum sounds with much patience.
I was there when Captain Beefheart 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 Von Mondo to the grime 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 Aswad. All the underground hits.
All Infiniti tracks. I heard you have a vinyl of every Thee Headcoats record on German import.
I heard that you have a white label of every seminal electroclash 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 synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Pussy Galore record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Scratch Acid,
Lalo Schifrin,
Interpol,
the Soft Cell,
Vaughan Mason & Crew,
Pussy Galore,
Gregory Isaacs,
The Mojo Men,
Carl Craig,
L. Decosne,
Terry Callier,
Terrestrial Tones,
Grandmaster Flash,
Ralphi Rosario,
Rhythim Is Rhythim,
Angry Samoans,
Bizarre Inc.,
Gil Scott Heron,
Yellowson,
Sly & The Family Stone,
Ajijia Myrayebe,
Howard Jones,
Sunsets and Hearts,
Albert Ayler,
The United States of America,
Ultravox,
U.S. Maple,
Sex Pistols,
Easy Going,
The Kinks,
10cc,
Fatback Band,
Thompson Twins,
Kings Of Tomorrow,
The Count Five,
The Electric Prunes,
Scion,
The Martian,
Ronnie Foster,
Scott Walker,
Public Image Ltd.,
Patti Smith,
Ken Boothe,
Harmonia,
Malaria!,
The Detroit Cobras,
Fifty Foot Hose,
Moebius,
Outsiders,
Davy DMX,
Bobby Hutcherson,
Kenny Larkin,
Pagans,
Roy Ayers,
Kool G Rap & DJ Polo,
Rapeman,
Lakeside,
Godley & Creme,
Circle Jerks,
Newcleus,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.