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 Ivory Coast and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Milan.
I'm losing my edge to the art-school Milan 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the linndrum 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 Freddie Wadling to the rock kids.
I played it at Cafe Wha.
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 The Jesus and Mary Chain. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar 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 mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
AZ,
Archie Shepp,
Ken Boothe,
Kings Of Tomorrow,
Nation of Ulysses,
Ornette Coleman,
Agitation Free,
The Neon Judgement,
Yaz,
Can,
Derrick Morgan,
Eric Dolphy,
Black Bananas,
Wasted Youth,
Radio Birdman,
Circle Jerks,
Aaron Thompson,
Moebius,
Tears for Fears,
Echospace,
Make Up,
Outsiders,
Clear Light,
Vladislav Delay,
James White and The Blacks,
Rapeman,
Black Moon,
the Soft Cell,
Alphaville,
Charles Mingus,
Connie Case,
Goldenarms,
L. Decosne,
Zapp,
Howard Jones,
Franke,
Yazoo,
The Slits,
Black Pus,
Pierre Henry,
Ultravox,
World's Most,
Fear,
Ajijia Myrayebe,
Sällskapet,
MDC,
Excepter,
Hardrive,
E-Dancer,
Moby Grape,
Michelle Simonal,
Ponytail,
Babytalk,
The Fire Engines,
Man Eating Sloth,
David Bowie,
Maleditus Sound,
Johnny Osbourne,
Morten Harket,
Deakin,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.