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 Philippines and from Salvador.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Lille and Halifax.
I'm losing my edge to the art-school Hong Kong 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 Michael McDonald 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 Rakim to the rock 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 Delon & Dalcan. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every Roger Hodgson record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Theoretical Girls record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Buckinghams,
Lou Reed,
Tim Buckley,
Warsaw,
The Doors,
OOIOO,
Gabor Szabo,
Bootsy Collins,
Alphaville,
Magma,
Jerry Gold Smith,
The Divine Comedy,
Barrington Levy,
Laurel Aitken,
Brass Construction,
Groovy Waters,
Siouxsie and the Banshees,
Harry Pussy,
Oblivians,
Nick Fraelich,
The Chocolate Watch Band,
Gregory Isaacs,
Underground Resistance,
Japan,
Ten City,
Joensuu 1685,
John Lydon,
The Monochrome Set,
Heaven 17,
Johnny Osbourne,
Porter Ricks,
Whodini,
Todd Rundgren,
Hashim,
Joe Finger,
Anakelly,
Toni Rubio,
Flamin' Groovies,
Sister Nancy,
Chris & Cosey,
Funky Four + One,
Ohio Players,
Slave,
The Dave Clark Five,
Zero Boys,
Black Flag,
Throbbing Gristle,
Sugar Minott,
Hot Snakes,
Danielle Patucci,
James Chance & The Contortions,
Bob Dylan,
Kaleidoscope,
Masters at Work,
Sparks,
Louis and Bebe Barron,
K-Klass,
the Association,
Minnie Riperton,
Mark Hollis,
Public Enemy,
Soul II Soul,
LL Cool J,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.