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 Mauritania and from Glasgow.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Manila and Lyon.
I'm losing my edge to the art-school Portland 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the linndrum 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 Rapeman to the dance kids.
I played it at the Spitz.
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 Second Layer. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every Barbara Tucker 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Neu! record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
Joe Finger,
The Knickerbockers,
Moss Icon,
The Pop Group,
Moebius,
Pulsallama,
Dark Day,
Rufus Thomas,
John Cale,
The Vogues,
the Soft Cell,
Donald Byrd,
Negative Approach,
Sparks,
Roxette,
Liaisons Dangereuses,
Lizzy Mercier Descloux,
The Selecter,
Stockholm Monsters,
Technova,
Oneida,
Kool Moe Dee,
Rahsaan Roland Kirk,
the Swans,
The Young Rascals,
Stetsasonic,
Massinfluence,
Dennis Brown,
The Names,
Ohio Players,
The Fortunes,
Alice Coltrane,
Scion,
Wally Richardson,
The New Christs,
Throbbing Gristle,
Audionom,
Bizarre Inc.,
Wire,
Franke,
U.S. Maple,
Mantronix,
The Blackbyrds,
Nas,
Marine Girls,
Eli Mardock,
Eden Ahbez,
Arthur Verocai,
Deadbeat,
The American Breed,
Neu!,
Tears for Fears,
Nik Kershaw,
R.M.O.,
Unwound,
The Dave Clark Five,
DNA,
Notorious Big And Bone Thugs,
The Cramps,
The Busters,
Newcleus,
Richard Hell and the Voidoids,
Aloha Tigers, Aloha Tigers, Aloha Tigers, Aloha Tigers.
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.