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 Croatia and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Bologna.
I'm losing my edge to the art-school Manila 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 rhodes 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 Alison Limerick to the electroclash kids.
I played it at Trash.
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 Excepter. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every Nirvana record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
H. Thieme,
Jeff Lynne,
Max Romeo,
Main Source,
A Certain Ratio,
Gil Scott-Heron & Brian Jackson,
Pere Ubu,
Aloha Tigers,
Susan Cadogan,
Slave,
Roxette,
The Peanut Butter Conspiracy,
Andrew Ashong & Theo Parrish,
The Busters,
Archie Shepp,
Johnny Osbourne,
Spandau Ballet,
the Germs,
Alison Limerick,
Patti Smith,
Connie Case,
The Searchers,
Country Teasers,
La Düsseldorf,
Beasts of Bourbon,
The Flesh Eaters,
Danielle Patucci,
The Misunderstood,
Rakim,
Bill Wells,
Glenn Branca,
Ornette Coleman,
Gong,
Curtis Mayfield,
Symarip,
Joensuu 1685,
Nick Fraelich,
Grandmaster Flash and the Furious Five,
Cecil Taylor,
Colin Newman,
Echospace,
Fat Boys,
This Heat,
Animal Collective,
Pantaleimon,
The Dave Clark Five,
Pagans,
Avey Tare's Slasher Flicks,
Boogie Down Productions,
Juan Atkins,
Fugazi,
Eric Copeland,
Dark Day,
The Royal Family And The Poor,
Yellowson,
Sad Lovers and Giants,
Kings Of Tomorrow,
Louis and Bebe Barron,
Jacques Brel,
The Birthday Party,
Todd Terry,
Pierre Henry,
Jawbox, Jawbox, Jawbox, Jawbox.
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.