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 Austria and from New York.
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 1972.
I'm losing my edge.
To all the kids in Spokane and Copenhagen.
I'm losing my edge to the art-school Spokane 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 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 Goldenarms to the rock kids.
I played it at the Hacienda.
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 Banda Bassotti. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every The Slackers record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dave Gahan,
Brass Construction,
Graham Central Station,
Black Moon,
Tears for Fears,
Con Funk Shun,
Rakim,
Eric Dolphy,
June Days,
Bush Tetras,
Severed Heads,
Ossler,
Aural Exciters,
Bobby Hutcherson,
X-Ray Spex,
Theoretical Girls,
Wasted Youth,
The Walker Brothers,
Kevin Saunderson,
Cymande,
B.T. Express,
Scott Walker + Sunn O))),
The Busters,
Heaven 17,
Roger Hodgson,
Sound Behaviour,
The Leaves,
Roxy Music,
Andrew Hill,
The Fuzztones,
Lalo Schifrin,
The Jesus and Mary Chain,
Pete Rock & C.L. Smooth,
Make Up,
Lafayette Afro Rock Band,
Sarah Menescal,
Soul II Soul,
Nation of Ulysses,
Khruangbin,
Visionaries,LMNO, T- Love & Iriscience,
Ralphi Rosario,
Aloha Tigers,
Clear Light,
Susan Cadogan,
Eden Ahbez,
Wally Richardson,
Adolescents,
Guru Guru,
Bizarre Inc.,
Harmonia,
Quadrant,
London Community Gospel Choir,
Mantronix,
Tim Buckley,
Technova,
Flash Fearless,
Electric Light Orchestra,
Thee Headcoats,
Crispy Ambulance,
Scott Walker,
The Wake,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.