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 Barbados and from Mexico City.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1977.
I'm losing my edge.
To all the kids in Lyon and Glasgow.
I'm losing my edge to the art-school Spokane 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Smoke to the jazz 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 Invisible. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every Connie Case record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
Spoonie Gee,
Deutsch Amerikanische Freundschaft,
Echo & the Bunnymen,
The Modern Lovers,
Liliput,
John Coltrane,
Grandmaster Flash,
Brass Construction,
Unrelated Segments,
DJ Sneak,
Kool Moe Dee,
Thinking Fellers Union Local 282,
Wighnomy Brothers & Robag Wruhme,
Siouxsie and the Banshees,
Animal Collective,
The Blues Magoos,
Urselle,
The Sisters of Mercy,
Easy Going,
The Jesus and Mary Chain,
June of 44,
The Kinks,
Bang on a Can All-Stars,
The Trojans,
Monks,
London Community Gospel Choir,
Marmalade,
Marine Girls,
Yusef Lateef,
The Cowsills,
The Toasters,
Magazine,
Angry Samoans,
JFA,
ABBA,
The Searchers,
Tom Boy,
Sun City Girls,
Electric Prunes,
Marc Romboy vs. Booka Shade,
Severed Heads,
The Flesh Eaters,
The United States of America,
The Misunderstood,
Rod Modell,
X-102,
Tears for Fears,
Pussy Galore,
Skarface,
Oppenheimer Analysis,
Boredoms,
Fort Wilson Riot,
The Men They Couldn't Hang,
Das Ding,
FM Einheit,
Jacques Brel,
The Remains,
Ponytail,
Fela Kuti,
Sparks,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.