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 Togo and from Madrid.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Calgary.
I'm losing my edge to the art-school Copenhagen 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 Stooges to the dance kids.
I played it at Cafe Wha.
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 Jerry Gold Smith. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal rap 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 marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Camberwell Now,
Hardrive,
David Axelrod,
10cc,
Brass Construction,
Audionom,
Peter and Kerry,
The West Coast Pop Art Experimental Band,
Delon & Dalcan,
The Invisible,
Bootsy Collins,
Gian Franco Pienzio,
Matthew Halsall,
Avey Tare,
Talk Talk,
Khruangbin,
Jesper Dahlbäck,
Scott Walker,
The Fire Engines,
Sugar Minott,
Stiv Bators,
FM Einheit,
Jimmy McGriff,
It's A Beautiful Day,
Darondo,
Cameo,
A Certain Ratio,
Dead Boys,
Gong,
Gary Puckett & The Union Gap,
Theoretical Girls,
Can,
Grauzone,
Warsaw,
Eric Dolphy,
Isaac Hayes,
Aural Exciters,
Eve St. Jones,
Black Sheep,
Newcleus,
Cecil Taylor,
Bang On A Can,
Das Ding,
Susan Cadogan,
Cybotron,
Unrelated Segments,
Don Cherry,
Parry Music,
Cluster,
The Names,
Fat Boys,
Ajijia Myrayebe,
Soul Sonic Force,
Gichy Dan,
Connie Case,
Bobby Womack,
The Shadows of Knight,
Arab on Radar,
The Busters,
Laurel Aitken,
JFA,
Bobby Byrd, Bobby Byrd, Bobby Byrd, Bobby Byrd.
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.