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 Chad and from Tokyo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Calgary and Manchester.
I'm losing my edge to the art-school Lille 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 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 Busters to the grunge kids.
I played it at the Hacienda.
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 West Coast Pop Art Experimental Band. All the underground hits.
All The Kinks tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brand Nubian,
Eric Copeland,
Ash Ra Tempel,
Pet Shop Boys,
Godley & Creme,
The Music Machine,
Guru Guru,
Blancmange,
Bauhaus,
Black Flag,
Magazine,
Oblivians,
The Detroit Cobras,
Echospace,
48th St. Collective,
James Chance & The Contortions,
Moebius,
Archie Shepp,
The Knickerbockers,
Barry Ungar,
Little Man,
Harry Pussy,
The Stooges,
Ten City,
Neil Young & Crazy Horse,
The Monks,
the Human League,
Rufus Thomas,
Sam Rivers,
Qualms,
Sexual Harrassment,
Thee Headcoats,
Chris & Cosey,
Skaos,
Excepter,
Scratch Acid,
Japan,
The Star Department,
Tropical Tobacco,
The Doobie Brothers,
Crispian St. Peters,
Ludus,
Negative Approach,
Severed Heads,
The Men They Couldn't Hang,
Grey Daturas,
Scientists,
Dawn Penn,
Adolescents,
Harpers Bizarre,
Camouflage,
Essential Logic,
KRS-One,
Yaz,
Dual Sessions,
Jesper Dahlback,
Lizzy Mercier Descloux,
Camberwell Now,
Juan Atkins,
Oppenheimer Analysis,
Gastr Del Sol,
Eve St. Jones,
Howard Jones,
Black Pus,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.