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 Mauritius and from Houston.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Woodstock.
I'm losing my edge to the art-school Edmonton 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 1968 at the first Can practice in a loft in Cologne.
I was working on the snare sounds with much patience.
I was there when David Bowie 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 Marshall Jefferson to the disco kids.
I played it at Cafe Wha.
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 Kevin Saunderson. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every James White and The Blacks 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
H. Thieme,
Davy DMX,
June of 44,
Bootsy's Rubber Band,
cv313,
Yazoo,
David Axelrod,
Funkadelic,
The Motions,
The Count Five,
Pet Shop Boys,
Pole,
Heaven 17,
Mark Hollis,
Albert Ayler,
The Gories,
Magma,
Grandmaster Flash,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Amon Düül II,
Throbbing Gristle,
Amazonics,
Althea and Donna,
Aloha Tigers,
James White and The Blacks,
Saccharine Trust,
Sixth Finger,
Loose Ends,
Wally Richardson,
Todd Rundgren,
Louis and Bebe Barron,
Y Pants,
John Holt,
Japan,
Notorious Big And Bone Thugs,
Vaughan Mason & Crew,
Cymande,
Reuben Wilson,
Outsiders,
The Names,
The Cure,
Sex Pistols,
Bang On A Can,
Faust,
Zero Boys,
The Knickerbockers,
10cc,
The Victims,
Kerrie Biddell,
Chrome,
Glambeats Corp.,
Eric B and Rakim,
the Germs,
Brass Construction,
The Beau Brummels,
Echo & the Bunnymen,
Sandy B,
Iggy Pop,
New Order,
Skarface,
Interpol, Interpol, Interpol, Interpol.
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.