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 Australia and from Bologna.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Beijing and Accra.
I'm losing my edge to the art-school Sao Paulo 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 mellotron 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 FM Einheit to the dance 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 Bush Tetras. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Quantec record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
Wasted Youth,
Richard Hell and the Voidoids,
Ultramagnetic MC's,
Chris Corsano,
Talk Talk,
Altered Images,
Soft Machine,
Metal Thangz,
Man Parrish,
The Skatalites,
Dorothy Ashby,
Spoonie Gee,
Sex Pistols,
John Cale,
Deepchord,
Slick Rick,
The Cramps,
Television,
The Residents,
CMW,
Sight & Sound,
Ten City,
Gichy Dan,
Graham Central Station,
Skriet,
Barry Ungar,
Sparks,
The Buckinghams,
Beasts of Bourbon,
JFA,
Groovy Waters,
Swans,
The Pretty Things,
The Smiths,
Spandau Ballet,
Nick Fraelich,
Pierre Henry,
Sandy B,
It's A Beautiful Day,
Essential Logic,
Sugar Minott,
the Soft Cell,
Stockholm Monsters,
David Axelrod,
Pantaleimon,
Wally Richardson,
Black Moon,
Massinfluence,
Mary Jane Girls,
Bobby Hutcherson,
The Fuzztones,
AZ,
Sexual Harrassment,
Audionom,
a-ha,
Mars,
DJ Sneak,
Mark Hollis,
Excepter,
Jesper Dahlbäck,
The J.B.'s,
Kool G Rap & DJ Polo,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.