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 Gambia and from Madrid.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Taipei.
I'm losing my edge to the art-school Milan 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Ludus to the electroclash kids.
I played it at Trash.
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 Dark Day. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every The Moleskins record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
The Black Dice,
Avey Tare & Kría Brekkan,
Jesper Dahlbäck,
the Germs,
Ajijia Myrayebe,
Aloha Tigers,
Johnny Osbourne,
Sandy B,
Jerry Gold Smith,
Talk Talk,
Nick Cave & The Bad Seeds,
cv313,
Teenage Jesus and the Jerks,
Sun Ra,
Youth Brigade,
The Shadows of Knight,
Throbbing Gristle,
Avey Tare's Slasher Flicks,
Alphaville,
Schoolly D,
Peter Gordon & Love of Life Orchestra,
Nick Fraelich,
Quando Quango,
Ultravox,
48th St. Collective,
Jawbox,
Easy Going,
Susan Cadogan,
MDC,
Silicon Teens,
Sun City Girls,
Electric Prunes,
Ultimate Spinach,
Hot Snakes,
Sad Lovers and Giants,
Gong,
Scott Walker + Sunn O))),
Erasure,
Juan Atkins,
Marcia Griffiths,
James White and The Blacks,
The Young Rascals,
Curtis Mayfield,
F. McDonald,
AZ,
The Moody Blues,
Von Mondo,
Donald Byrd,
A Flock of Seagulls,
Anthony Braxton,
Morten Harket,
The Alarm Clocks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Cameo,
Soft Cell,
John Holt,
New Age Steppers,
Röyhkä ja Rättö ja Lehtisalo,
Major Organ And The Adding Machine,
Roy Ayers Ubiquity,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.