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 Barbados and from Salvador.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Toronto.
I'm losing my edge to the art-school London 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Monolake to the electroclash kids.
I played it at the Spitz.
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 Yusef Lateef tracks. I heard you have a vinyl of every Jesper Dahlback 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 '80s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Scott Walker,
Tim Buckley,
Q and Not U,
Duran Duran,
Red Lorry Yellow Lorry,
The Modern Lovers,
Monks,
Wolf Eyes,
Sonic Youth,
Derrick Morgan,
The Five Americans,
The Smoke,
Electric Prunes,
Amon Düül,
Selector Dub Narcotic,
Lyres,
Black Flag,
Rod Modell,
JFA,
Dr. Dre and Snoop Doggy Dog,
Eric B and Rakim,
T.S.O.L.,
Marvin Gaye,
The Vogues,
Robert Görl,
Radiohead,
The Dirtbombs,
Terrestrial Tones,
Bobbi Humphrey,
Scrapy,
Public Image Ltd.,
DJ Sneak,
Tommy Roe,
Faraquet,
Lee Hazlewood,
The Zeros,
The Flesh Eaters,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Kinks,
Ice-T,
Barry Ungar,
Bizarre Inc.,
Gregory Isaacs,
Wasted Youth,
Darondo,
Gang Starr,
Section 25,
Zero Boys,
Technova,
Unwound,
H. Thieme,
Swell Maps,
The Gap Band,
Fugazi,
Jesper Dahlbäck,
Organ,
Rhythim Is Rhythim,
Joey Negro,
Tom Boy,
Mary Jane Girls,
Reagan Youth,
Mars, Mars, Mars, Mars.
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.