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 Laos and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Edmonton.
I'm losing my edge to the art-school Manila 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer 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 Aural Exciters to the electroclash kids.
I played it at the Astoria.
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 June Days. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every The Residents 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 '90s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Peter Gordon & Love of Life Orchestra,
Robert Görl,
Fela Kuti,
Dorothy Ashby,
The American Breed,
Gang of Four,
Fatback Band,
Jandek,
Cabaret Voltaire,
Rosa Yemen,
Pulsallama,
The Evens,
Camberwell Now,
The Beau Brummels,
The Monks,
Amon Düül,
Don Cherry,
Letta Mbulu,
Rekid,
Freddie Wadling,
Joe Finger,
Rotary Connection,
ABC,
DNA,
Richard Hell and the Voidoids,
Lightning Bolt,
the Swans,
Roger Hodgson,
Pantaleimon,
Andrew Ashong & Theo Parrish,
Deepchord,
The Standells,
Lee Hazlewood,
Derrick Morgan,
Roy Ayers,
Heavy D & The Boyz,
The Doobie Brothers,
Max Romeo,
Fluxion,
Surgeon,
Siouxsie and the Banshees,
Alton Ellis,
Cameo,
Gabor Szabo,
Stetsasonic,
Loose Ends,
Soul II Soul,
Bluetip,
Main Source,
The Modern Lovers,
This Heat,
Kaleidoscope,
Scott Walker + Sunn O))),
Charles Mingus,
Arab on Radar,
Minny Pops,
Brass Construction,
the Fania All-Stars,
Rod Modell,
Scion,
Oneida, Oneida, Oneida, Oneida.
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.