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 Panama and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1973.
I'm losing my edge.
To all the kids in Delhi and Bremen.
I'm losing my edge to the art-school Madrid 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 Durutti Column to the dance kids.
I played it at CBGB's.
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 Black Pus. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Zero Boys 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 '90s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a the Fania All-Stars record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gun Club,
Skaos,
Mad Mike,
Warsaw,
Angels of Light & Akron/Family,
John Coltrane,
Stockholm Monsters,
Johnny Clarke,
Scott Walker,
Sex Pistols,
MC5,
T.S.O.L.,
Art Ensemble Of Chicago,
Ten City,
Animal Collective,
Sad Lovers and Giants,
Lee Hazlewood,
the Slits,
Marmalade,
Ohio Players,
The Chocolate Watch Band,
The Selecter,
Jawbox,
Alice Coltrane,
Gerry Rafferty,
Pharoah Sanders,
Crispy Ambulance,
Deutsch Amerikanische Freundschaft,
Pete Rock & C.L. Smooth,
Sun Ra,
Be Bop Deluxe,
Sam Rivers,
Jacques Brel,
Neil Young & Crazy Horse,
Gang of Four,
David Axelrod,
Soft Machine,
Wire,
Sugar Minott,
The Gladiators,
Blossom Toes,
Funkadelic,
Lucky Dragons,
Urselle,
Gabor Szabo,
Liaisons Dangereuses,
Q and Not U,
Mantronix,
Radiopuhelimet,
Rhythim Is Rhythim,
Pagans,
Bizarre Inc.,
Cluster,
Laurel Aitken,
Bronski Beat,
Kaleidoscope,
Hoover,
Gary Puckett & The Union Gap,
Junior Murvin,
Unrelated Segments,
The Trojans,
The Fuzztones,
Trumans Water,
Guru Guru, Guru Guru, Guru Guru, Guru Guru.
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.