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 Luxembourg and from New York.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Milan and Paris.
I'm losing my edge to the art-school Copenhagen 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 marimba sounds with much patience.
I was there when Holger Czukay 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 Newcleus to the grime kids.
I played it at the Troubador.
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 Lonnie Liston Smith. All the underground hits.
All The Seeds tracks. I heard you have a vinyl of every Lebanon Hanover record on German import.
I heard that you have a white label of every seminal rock 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 an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
The Gories,
Sandy B,
The Last Poets,
Kenny Larkin,
Ornette Coleman,
Moss Icon,
Stockholm Monsters,
Cal Tjader,
The Cure,
Technova,
Echospace,
Quando Quango,
Dark Day,
MC5,
Essential Logic,
Talk Talk,
Be Bop Deluxe,
Frankie Knuckles,
Faust,
Flamin' Groovies,
Eddi Front,
Ultravox,
Little Man,
Sugar Minott,
Arab on Radar,
Deutsch Amerikanische Freundschaft,
Massinfluence,
Stetsasonic,
The Durutti Column,
The Count Five,
Fluxion,
B.T. Express,
Agent Orange,
Carl Craig,
the Bar-Kays,
Albert Ayler,
The American Breed,
Average White Band,
Thompson Twins,
Brothers Johnson,
Suicide,
Andrew Hill,
Red Lorry Yellow Lorry,
Pharaoh Sanders and the Fire Engines,
the Slits,
Gong,
Piero Umiliani,
Royal Trux,
Anthony Braxton,
Sun Ra Arkestra,
Mars,
Lakeside,
Subhumans,
Bootsy Collins,
Black Sheep,
Supertramp,
FM Einheit,
Lyres,
Aaron Thompson,
Bill Near,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.