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 Moldova and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 Calgary and Manchester.
I'm losing my edge to the art-school Delhi 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 sitar 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 Beau Brummels to the rock 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 Traffic Nightmare. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every Country Teasers 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 '80s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your snare and bought an oboe.
I hear that you and your band have sold your oboe and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Gil Scott Heron,
Camberwell Now,
Rites of Spring,
Nik Kershaw,
Black Bananas,
Babytalk,
It's A Beautiful Day,
Minutemen,
David Axelrod,
Icehouse,
The New Christs,
Byron Stingily,
The Walker Brothers,
The Red Krayola,
Oppenheimer Analysis,
Infiniti,
Jacques Brel,
Ronnie Foster,
Pete Rock & C.L. Smooth,
Procol Harum,
KRS-One,
Kauko Röyhkä ja Narttu,
The Moleskins,
Kango’s Stein Massive,
the Human League,
Sister Nancy,
Cabaret Voltaire,
Tommy Roe,
Shuggie Otis,
Fear,
Liaisons Dangereuses,
Shoche,
Curtis Mayfield,
Stockholm Monsters,
Wolf Eyes,
Hashim,
Lonnie Liston Smith,
Lalo Schifrin,
Eden Ahbez,
Isaac Hayes,
Lindisfarne,
The Gun Club,
Zapp,
Black Moon,
Parry Music,
Leonard Cohen,
48th St. Collective,
Cal Tjader,
Joyce Sims,
Trumans Water,
Nas,
Sun Ra Arkestra,
Judy Mowatt,
Eric Dolphy,
Unwound,
Swans,
Mark Hollis,
X-Ray Spex,
Pole,
Metal Thangz,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.