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 Afghanistan and from Winnipeg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Portland and Salvador.
I'm losing my edge to the art-school Shanghai 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 The Monochrome Set to the dance 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 Pharoah Sanders. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Pere Ubu 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
Scion,
The Birthday Party,
Minor Threat,
Gastr Del Sol,
Lakeside,
Rapeman,
Graham Central Station,
The Mummies,
Wally Richardson,
In Retrospect,
Camberwell Now,
Average White Band,
The Fortunes,
Flipper,
Black Pus,
D'Angelo,
John Coltrane,
Alison Limerick,
John Foxx,
Masters at Work,
FM Einheit,
The Monochrome Set,
Pantaleimon,
New Age Steppers,
Nico,
Fad Gadget,
Young Marble Giants,
Suburban Knight,
Joe Smooth,
Amon Düül II,
Gil Scott Heron,
Isaac Hayes,
Excepter,
Lungfish,
Gil Scott-Heron & Brian Jackson,
Icehouse,
Mandrill,
Sun City Girls,
Underground Resistance,
Eurythmics,
The Names,
Rhythim Is Rhythim,
Technova,
Agitation Free,
Mo-Dettes,
The Durutti Column,
Lindisfarne,
The Busters,
Ituana,
Jesper Dahlback,
Rufus Thomas,
Black Sheep,
The Remains,
Brand Nubian,
Siglo XX,
Magazine,
Traffic Nightmare,
Bobby Womack,
Dawn Penn,
Neil Young,
Maurizio,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.