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 Belize and from Taipei.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Shanghai.
I'm losing my edge to the art-school Philadelphia 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 Sly & The Family Stone to the funk 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 Kool Moe Dee. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Nas 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Move 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?
Lou Christie,
Crispian St. Peters,
Country Joe & The Fish,
cv313,
The Happenings,
The Wake,
The Victims,
Clear Light,
Kool G Rap & DJ Polo,
The Gun Club,
Underground Resistance,
Leonard Cohen,
Radio Birdman,
Boz Scaggs,
Jandek,
Louis and Bebe Barron,
Jacques Brel,
Groovy Waters,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Neon Judgement,
Siouxsie and the Banshees,
The Evens,
Visionaries,LMNO, T- Love & Iriscience,
Joy Division,
Dorothy Ashby,
Sixth Finger,
Peter Gordon & Love of Life Orchestra,
Scion,
Flipper,
Theoretical Girls,
The Young Rascals,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Byron Stingily,
Wasted Youth,
Black Bananas,
LL Cool J,
Deepchord,
B.T. Express,
Grandmaster Flash and the Furious Five,
Brass Construction,
Ice-T,
Lalo Schifrin,
Dr. Dre and Snoop Doggy Dog,
Make Up,
Barbara Tucker,
Accadde A,
Mo-Dettes,
Carl Craig,
MDC,
Adolescents,
The Detroit Cobras,
Monolake,
The Offenders,
The Sisters of Mercy,
The Angels of Light,
Scratch Acid,
MC5,
A Certain Ratio,
K-Klass,
Das Ding,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.