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 United States and from Spokane.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1979.
I'm losing my edge.
To all the kids in Johannesburg and Philadelphia.
I'm losing my edge to the art-school Lille 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Funky Four + One to the techno kids.
I played it at Trash.
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 New Order. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every T. Rex record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Bobby Byrd,
Khruangbin,
Sex Pistols,
Crash Course in Science,
Gregory Isaacs,
James White and The Blacks,
It's A Beautiful Day,
Rosa Yemen,
Cecil Taylor,
The Gap Band,
Kings Of Tomorrow,
John Coltrane,
The West Coast Pop Art Experimental Band,
Byron Stingily,
Lou Reed & Metallica,
Los Fastidios,
Hasil Adkins,
Larry & the Blue Notes,
Public Enemy,
Liliput,
Lightning Bolt,
The Motions,
Reagan Youth,
the Normal,
Mr. Review,
Jeru the Damaja,
Chris Corsano,
The Tremeloes,
Fela Kuti,
The Doobie Brothers,
Groovy Waters,
Electric Prunes,
Cabaret Voltaire,
Schoolly D,
MC5,
Kayak,
Spandau Ballet,
Guru Guru,
The Five Americans,
Moss Icon,
Sticky Fingaz feat. Raekwon,
Marine Girls,
Pierre Henry,
Section 25,
Traffic Nightmare,
Chris & Cosey,
Junior Murvin,
The Pop Group,
Alton Ellis,
Mark Hollis,
Ponytail,
John Holt,
Joensuu 1685,
Smog,
Aural Exciters,
cv313,
Ralphi Rosario,
The Kinks,
The Move,
Lalann,
Robert Görl,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.