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 Uruguay and from London.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1973.
I'm losing my edge.
To all the kids in Lille and Edmonton.
I'm losing my edge to the art-school Jakarta 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 kango's stein massive to the jazz kids.
I played it at the Spitz.
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 The Kinks. All the underground hits.
All X-102 tracks. I heard you have a vinyl of every The Doors 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 '70s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Anakelly record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DeepChord presents Echospace,
Andrew Hill,
Alice Coltrane,
Hasil Adkins,
Royal Trux,
Pussy Galore,
AZ,
La Düsseldorf,
Gabor Szabo,
the Human League,
Banda Bassotti,
Boredoms,
Sixth Finger,
Public Enemy,
Todd Terry,
Ultimate Spinach,
Eden Ahbez,
Major Organ And The Adding Machine,
Roy Ayers Ubiquity,
Second Layer,
Grey Daturas,
Black Flag,
Sight & Sound,
Ultramagnetic MC's,
Rhythm & Sound,
Swans,
Camberwell Now,
Lebanon Hanover,
Eric Dolphy,
Yusef Lateef,
Yellowson,
Mark Hollis,
The Dead C,
Donald Byrd,
Sällskapet,
Animal Collective,
The Sisters of Mercy,
Scrapy,
Masters at Work,
Ash Ra Tempel,
the Germs,
Main Source,
Eve St. Jones,
Yazoo,
Procol Harum,
Röyhkä ja Rättö ja Lehtisalo,
New Age Steppers,
Lee Hazlewood,
Teenage Jesus and the Jerks,
These Immortal Souls,
Pere Ubu,
Jawbox,
The Seeds,
E-Dancer,
Lou Christie,
Cybotron,
Man Eating Sloth,
Echospace,
The Fire Engines,
Kenny Larkin,
The American Breed,
Amon Düül II,
Liliput, Liliput, Liliput, Liliput.
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.