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 Syria and from Lille.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Houston and Winnipeg.
I'm losing my edge to the art-school Lille 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 1968 at the first Can practice in a loft in Cologne.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 In Retrospect to the jazz 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 Au Pairs. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Wire 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 '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Motorama record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Radiopuhelimet,
Marshall Jefferson,
The Sonics,
Siglo XX,
Basic Channel,
The New Christs,
Organ,
Thinking Fellers Union Local 282,
John Holt,
The Shadows of Knight,
Suicide,
Bobby Sherman,
Joe Finger,
David McCallum,
Peter & Gordon,
Zero Boys,
Piero Umiliani,
Icehouse,
Swans,
Adolescents,
Cybotron,
The Move,
Ken Boothe,
Joy Division,
Jeff Lynne,
Heaven 17,
Aural Exciters,
Oppenheimer Analysis,
Pantytec,
Lightning Bolt,
Quantec,
Davy DMX,
Laurel Aitken,
Malaria!,
Inner City,
Quadrant,
Bad Manners,
Can,
K-Klass,
Derrick Morgan,
Fort Wilson Riot,
Talk Talk,
Hoover,
Rites of Spring,
Black Flag,
The Buckinghams,
ABC,
Bootsy Collins,
Gregory Isaacs,
Black Pus,
DJ Sneak,
The Dave Clark Five,
Pete Rock & C.L. Smooth,
Joe Smooth,
Tropical Tobacco,
The Peanut Butter Conspiracy,
Camron Feat. Memphis Bleek And Beenie Seigel,
Royal Trux,
The Cosmic Jokers,
Babytalk,
Howard Jones,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.