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 Winnipeg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Tehran.
I'm losing my edge to the art-school Glasgow 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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Kenny Larkin to the crunk 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 Lizzy Mercier Descloux. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every Inner City record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
UT,
Aswad,
The Knickerbockers,
Lightning Bolt,
The Jesus and Mary Chain,
Sparks,
R.M.O.,
Agent Orange,
Camron Feat. Memphis Bleek And Beenie Seigel,
Roxy Music,
Fort Wilson Riot,
OOIOO,
Hashim,
Pierre Henry,
Newcleus,
Lucky Dragons,
ABC,
Ornette Coleman,
Boz Scaggs,
The Zeros,
The Techniques,
Erasure,
Sandy B,
Ohio Players,
The Dirtbombs,
Albert Ayler,
Pagans,
Arthur Verocai,
Make Up,
Ajijia Myrayebe,
Cybotron,
Rod Modell,
Sex Pistols,
Visage,
The Searchers,
Bootsy Collins,
The Pretty Things,
Major Organ And The Adding Machine,
Masters at Work,
Nation of Ulysses,
Siglo XX,
Leonard Cohen,
Stockholm Monsters,
Spandau Ballet,
Connie Case,
Radiohead,
Television,
The Invisible,
Stereo Dub,
Organ,
AZ,
The Moody Blues,
The Human League,
Loose Ends,
Malaria!,
Soul Sonic Force,
Tommy Roe,
Black Bananas,
Dual Sessions,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.