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 Colombia and from Winnipeg.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Tehran.
I'm losing my edge to the art-school Hong Kong 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 theremin 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 Neil Young & Crazy Horse to the jazz kids.
I played it at the 40 Watt.
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 Lalo Schifrin. All the underground hits.
All Flash Fearless tracks. I heard you have a vinyl of every The Associates 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Searchers,
Pole,
La Düsseldorf,
Warren Ellis,
Neu!,
X-101,
Brass Construction,
Ludus,
Ituana,
U.S. Maple,
The Skatalites,
The Cosmic Jokers,
The Blues Magoos,
Jimmy McGriff,
Reuben Wilson,
Scan 7,
Pulsallama,
The West Coast Pop Art Experimental Band,
Avey Tare & Kría Brekkan,
Tropical Tobacco,
Joyce Sims,
the Swans,
the Slits,
The Gladiators,
Susan Cadogan,
Half Japanese,
Bill Near,
Animal Collective,
Alice Coltrane,
Ponytail,
T. Rex,
Howard Jones,
Johnny Clarke,
Rosa Yemen,
Eve St. Jones,
Soul Sonic Force,
The Techniques,
The Gories,
AZ,
Q65,
Tears for Fears,
Lightning Bolt,
Lucky Dragons,
Deadbeat,
Dawn Penn,
Lower 48,
The Cowsills,
The Standells,
Nas,
Barry Ungar,
The Dirtbombs,
The Dead C,
The Royal Family And The Poor,
Angels of Light & Akron/Family,
Idris Muhammad,
Kauko Röyhkä ja Narttu,
China Crisis,
Crime,
Kerri Chandler,
Anthony Braxton,
Model 500,
Absolute Body Control,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.