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 Malawi and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in London and New York.
I'm losing my edge to the art-school Stockholm 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 chamberlin 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 X-102 to the grime kids.
I played it at the Astoria.
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 Magazine. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal grime 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 snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Ash Ra Tempel,
the Bar-Kays,
AZ,
Grandmaster Flash,
DJ Style,
The J.B.'s,
Morten Harket,
Be Bop Deluxe,
Derrick May,
Eden Ahbez,
Minny Pops,
Donny Hathaway,
The Zeros,
Junior Murvin,
Trumans Water,
Magma,
Jesper Dahlback,
Eddi Front,
The Jesus and Mary Chain,
Idris Muhammad,
The Gladiators,
Oppenheimer Analysis,
Newcleus,
Youth Brigade,
Nik Kershaw,
Rapeman,
Anakelly,
Eric Dolphy,
R.M.O.,
Spoonie Gee,
H. Thieme,
Slick Rick,
Funkadelic,
Sly & The Family Stone,
Jeff Mills,
Joy Division,
Negative Approach,
Nas,
Kas Product,
Oneida,
Pulsallama,
Deakin,
Arthur Verocai,
It's A Beautiful Day,
Glenn Branca,
Tomorrow,
Motorama,
Scratch Acid,
June Days,
The Walker Brothers,
Robert Wyatt,
8 Eyed Spy,
Alison Limerick,
Harpers Bizarre,
La Düsseldorf,
Lonnie Liston Smith,
Scott Walker,
Sugar Minott,
The Sisters of Mercy,
Lee Hazlewood,
Byron Stingily,
Lakeside, Lakeside, Lakeside, Lakeside.
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.