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 Netherlands and from Lille.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Edmonton and Manchester.
I'm losing my edge to the art-school New York 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Mary Jane Girls to the disco kids.
I played it at the Roxy.
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 Babytalk. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every Visage record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
The Doors,
Flash Fearless,
Public Image Ltd.,
Brass Construction,
Masters at Work,
Stockholm Monsters,
Lonnie Liston Smith,
The Alarm Clocks,
Chris & Cosey,
Barclay James Harvest,
Rekid,
Sad Lovers and Giants,
Jerry's Kids,
Yazoo,
Stetsasonic,
Bobby Womack,
Crispy Ambulance,
Groovy Waters,
Dead Boys,
MC5,
Deadbeat,
Nils Olav,
Barry Ungar,
Cal Tjader,
Max Romeo,
Nation of Ulysses,
Main Source,
Leonard Cohen,
Deepchord,
China Crisis,
Rites of Spring,
Pantaleimon,
Country Joe & The Fish,
The Offenders,
MDC,
Country Teasers,
Kenny Larkin,
Dual Sessions,
A Certain Ratio,
The Index,
the Association,
Louis and Bebe Barron,
Absolute Body Control,
Mo-Dettes,
One Last Wish,
Jerry Gold Smith,
Monolake,
World's Most,
Howard Jones,
Ken Boothe,
The Invisible,
Donald Byrd,
The Leaves,
Bill Wells,
Ultravox,
Teenage Jesus and the Jerks,
Sex Pistols,
Wolf Eyes,
Funky Four + One,
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.