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 Eritrea and from Cairo.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1964 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Tehran.
I'm losing my edge to the art-school Philadelphia 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 linndrum 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 Warren Ellis to the techno kids.
I played it at the Roxy.
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 Lebanon Hanover. All the underground hits.
All Lalo Schifrin tracks. I heard you have a vinyl of every Pussy Galore record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus 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?
Moby Grape,
Stiv Bators,
Cal Tjader,
Interpol,
Y Pants,
John Coltrane,
David McCallum,
Reagan Youth,
The Techniques,
Erykah Badu,
Pussy Galore,
Con Funk Shun,
Lizzy Mercier Descloux,
Rod Modell,
Q and Not U,
The Black Dice,
Grauzone,
Amon Düül,
The Beau Brummels,
Black Flag,
Dave Gahan,
Crime,
Soft Cell,
Oblivians,
Tears for Fears,
Ralphi Rosario,
Black Bananas,
The Golliwogs,
Fat Boys,
Funkadelic,
Sonic Youth,
Gichy Dan,
The West Coast Pop Art Experimental Band,
Kurtis Blow,
Robert Wyatt,
Little Man,
The Names,
Warren Ellis,
David Axelrod,
Ituana,
Symarip,
Richard Hell and the Voidoids,
The Searchers,
Siouxsie and the Banshees,
Urselle,
Nik Kershaw,
June Days,
X-Ray Spex,
Robert Görl,
Absolute Body Control,
Alton Ellis,
Inner City,
Massinfluence,
Cybotron,
Camberwell Now,
Terrestrial Tones,
Loose Ends,
Talk Talk,
Idris Muhammad,
Mary Jane Girls,
Harmonia,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.