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 Lebanon and from Hong Kong.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1960 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and New York.
I'm losing my edge to the art-school Johannesburg 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 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 Maurizio to the disco kids.
I played it at the Hacienda.
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 Roy Ayers. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Terrestrial Tones,
Mo-Dettes,
The Mighty Diamonds,
Throbbing Gristle,
Oblivians,
Man Parrish,
Sarah Menescal,
Captain Beefheart & His Magic Band,
Al Stewart,
Mary Jane Girls,
Oppenheimer Analysis,
Flipper,
The Last Poets,
Pete Rock & C.L. Smooth,
D'Angelo,
Sight & Sound,
F. McDonald,
X-102,
Gastr Del Sol,
Half Japanese,
Can,
Nation of Ulysses,
The Techniques,
The Smiths,
Magazine,
The Dave Clark Five,
Royal Trux,
Drive Like Jehu,
The Seeds,
The Red Krayola,
Livin' Joy,
Hardrive,
X-101,
A Flock of Seagulls,
Flamin' Groovies,
DNA,
Piero Umiliani,
Visage,
Moebius,
The Divine Comedy,
Bluetip,
Pulsallama,
Porter Ricks,
Swell Maps,
Ronnie Foster,
Swans,
Monks,
Judy Mowatt,
Yazoo,
Make Up,
Quantec,
Sonic Youth,
Circle Jerks,
Smog,
Wasted Youth,
The Beau Brummels,
Tropical Tobacco,
Stereo Dub,
Tubeway Army,
Popol Vuh,
The Gories,
The Associates,
Sparks, Sparks, Sparks, Sparks.
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.