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 Kenya and from Lille.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Salvador and Stockholm.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Sonics to the electroclash kids.
I played it at the Crocodile.
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 Jesper Dahlback. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every The American Breed 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Angry Samoans,
Ultravox,
Monks,
The Doobie Brothers,
Rites of Spring,
The Sonics,
The Saints,
Hoover,
Echospace,
E-Dancer,
Big Daddy Kane,
Kerri Chandler,
Spandau Ballet,
Maurizio,
Subhumans,
Ice-T,
Jimmy McGriff,
The Jesus and Mary Chain,
Chrome,
David Axelrod,
The Real Kids,
Alice Coltrane,
OOIOO,
The Detroit Cobras,
Lebanon Hanover,
Vaughan Mason & Crew,
Quando Quango,
The Gun Club,
Pierre Henry,
Derrick Morgan,
Alton Ellis,
Bobby Hutcherson,
The Names,
The Standells,
Avey Tare,
Clear Light,
Radio Birdman,
Nas,
Morten Harket,
Motorama,
Amon Düül II,
the Swans,
Oneida,
Magazine,
The Pop Group,
Soft Cell,
Pagans,
Godley & Creme,
John Cale,
The Fuzztones,
Sällskapet,
The Smiths,
Gong,
Shuggie Otis,
Roxy Music,
Sly & The Family Stone,
Yazoo,
Flash Fearless,
Can,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.