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 Azerbaijan and from London.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Manchester and Hong Kong.
I'm losing my edge to the art-school Cairo 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 clarinet 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 Lucky Dragons to the punk 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 Germs. All the underground hits.
All Terror Squad Feat. Camron tracks. I heard you have a vinyl of every Slick Rick record on German import.
I heard that you have a white label of every seminal disco 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 sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
The Jesus and Mary Chain,
Negative Approach,
James Chance & The Contortions,
Television Personalities,
Rhythm & Sound,
Heavy D & The Boyz,
Mars,
Rowland S Howard / Lydia Lunch,
Sad Lovers and Giants,
Sonny Sharrock,
Roger Hodgson,
Alice Coltrane,
Deakin,
Pet Shop Boys,
The Electric Prunes,
Sam Rivers,
Parry Music,
Bluetip,
Todd Terry,
Magma,
X-101,
Smog,
Roy Ayers Ubiquity,
Jeff Mills,
Symarip,
Sandy B,
Tim Buckley,
Marshall Jefferson,
Nik Kershaw,
The Techniques,
Animal Collective,
John Cale,
Bauhaus,
Hot Snakes,
Monolake,
UT,
The Mojo Men,
Bizarre Inc.,
Con Funk Shun,
Dorothy Ashby,
Grandmaster Flash,
Groovy Waters,
Alton Ellis,
Scratch Acid,
Orchestral Manoeuvres in the Dark,
Sun Ra,
Jimmy McGriff,
In Retrospect,
The Busters,
The Slackers,
the Human League,
Faraquet,
The Wake,
Nas,
Fifty Foot Hose,
Marc Romboy vs. Booka Shade,
Michelle Simonal,
Cabaret Voltaire,
Black Moon,
Arcadia, Arcadia, Arcadia, Arcadia.
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.