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 Dominican Republic and from Columbus.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Lille and Jakarta.
I'm losing my edge to the art-school Cairo 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 chamberlin 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 Vaughan Mason & Crew 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 Fifty Foot Hose. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every Fad Gadget 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rites of Spring record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soulsonic Force,
The Birthday Party,
The Knickerbockers,
Lyres,
Eurythmics,
Loose Ends,
Connie Case,
Eve St. Jones,
Ajijia Myrayebe,
Jandek,
Robert Hood,
Bush Tetras,
Electric Light Orchestra,
Goldenarms,
Desert Stars,
Alice Coltrane,
Sister Nancy,
The Detroit Cobras,
Dennis Brown,
Eric Dolphy,
The Mojo Men,
Alton Ellis,
Sad Lovers and Giants,
The Fall,
The Misunderstood,
Shoche,
the Slits,
Johnny Osbourne,
E-Dancer,
Boredoms,
Sparks,
Sonny Sharrock,
Jawbox,
Jesper Dahlback,
The Modern Lovers,
The Fire Engines,
The Evens,
Pharoah Sanders,
Laurel Aitken,
Glambeats Corp.,
John Foxx,
Flamin' Groovies,
Tubeway Army,
The Techniques,
Archie Shepp,
The Sound,
a-ha,
PIL,
Marshall Jefferson,
Rhythim Is Rhythim,
DJ Sneak,
JFA,
Mo-Dettes,
Heaven 17,
The Leaves,
Country Teasers,
Sound Behaviour,
The United States of America,
Scan 7,
ABC,
Section 25,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.