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 Belgium and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1970.
I'm losing my edge.
To all the kids in Johannesburg and Copenhagen.
I'm losing my edge to the art-school Johannesburg 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 snare 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 Television Personalities to the jazz kids.
I played it at the Crocodile.
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 Todd Rundgren. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every The Alarm Clocks 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 '50s cut and another box set from the '80s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Maleditus Sound,
Parry Music,
Howard Jones,
Talk Talk,
Sight & Sound,
Moby Grape,
Tropical Tobacco,
Flash Fearless,
The Buckinghams,
Man Parrish,
The Alarm Clocks,
Dr. Dre and Snoop Doggy Dog,
Chrome,
Warsaw,
Traffic Nightmare,
Livin' Joy,
Brand Nubian,
Pere Ubu,
Charles Mingus,
The Offenders,
Gil Scott Heron,
The Fall,
Pole,
Al Stewart,
Radiohead,
Jandek,
John Coltrane,
The Star Department,
Scratch Acid,
Country Teasers,
Television,
Iggy Pop,
Cabaret Voltaire,
Model 500,
Strawberry Alarm Clock,
The Fortunes,
Alphaville,
Jacob Miller,
James Chance & The Contortions,
Idris Muhammad,
Schoolly D,
David McCallum,
Todd Terry,
Manfred Mann's Earth Band,
Surgeon,
Crooked Eye,
Sad Lovers and Giants,
Marshall Jefferson,
Laurel Aitken,
Deadbeat,
Judy Mowatt,
Quadrant,
Danielle Patucci,
Ken Boothe,
Niagra,
The Pretty Things,
Mars,
Electric Light Orchestra,
FM Einheit,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.