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 Estonia and from Madrid.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1975.
I'm losing my edge.
To all the kids in New York and Manchester.
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 arpeggiator 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 Intrusion to the punk 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 Michelle Simonal. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Bauhaus,
Sixth Finger,
Dual Sessions,
Mantronix,
Nik Kershaw,
FM Einheit,
Magazine,
Siglo XX,
Camberwell Now,
Thompson Twins,
Bronski Beat,
Notorious BIG live in Amsterdam,
Godley & Creme,
Rotary Connection,
The Chocolate Watch Band,
Erykah Badu,
Deadbeat,
The Fuzztones,
The Residents,
Gang Gang Dance,
Animal Collective,
Tom Boy,
Camouflage,
B.T. Express,
Jerry Gold Smith,
Black Moon,
Rhythm & Sound,
Harry Pussy,
The Blackbyrds,
Jacob Miller,
Jeff Lynne,
Average White Band,
Scion,
Maleditus Sound,
Gang Starr,
Quando Quango,
X-102,
Swans,
Beasts of Bourbon,
Porter Ricks,
Half Japanese,
Justin Hinds & The Dominoes,
Max Romeo,
New Age Steppers,
The United States of America,
Radio Birdman,
The Slackers,
The Techniques,
Susan Cadogan,
Lee Hazlewood,
Anakelly,
Dark Day,
The Cowsills,
The Sound,
John Cale,
Darondo,
Cal Tjader,
Unwound,
Ornette Coleman,
Spoonie Gee,
Kaleidoscope,
Marc Almond,
Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse.
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.