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 Japan and from Manchester.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Madrid and Bologna.
I'm losing my edge to the art-school Tehran 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 Holger Czukay 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 Louis and Bebe Barron to the disco kids.
I played it at the Troubador.
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 Lower 48. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Lalann record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your snare and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
The Fugs,
The Barracudas,
Funky Four + One,
Jerry Gold Smith,
New York Dolls,
Big Daddy Kane,
Masters at Work,
The Seeds,
Ohio Players,
Franke,
The Doors,
The Raincoats,
Joe Finger,
Popol Vuh,
It's A Beautiful Day,
Infiniti,
the Association,
The Slits,
Tubeway Army,
David Axelrod,
Technova,
Matthew Bourne,
Agitation Free,
Pantaleimon,
Kevin Saunderson,
Avey Tare's Slasher Flicks,
Cameo,
Man Eating Sloth,
John Foxx,
Kings Of Tomorrow,
Deepchord,
Byron Stingily,
Rites of Spring,
Fear,
Cybotron,
Teenage Jesus and the Jerks,
Accadde A,
Groovy Waters,
Gil Scott-Heron and Jamie xx,
Ornette Coleman,
Shoche,
Crooked Eye,
Scan 7,
Derrick Morgan,
Aural Exciters,
Jawbox,
The Gories,
Country Teasers,
Marvin Gaye,
Crispy Ambulance,
Sound Behaviour,
The Residents,
Carl Craig,
The Fortunes,
Connie Case,
Siouxsie and the Banshees,
Donny Hathaway,
Selector Dub Narcotic,
Sex Pistols,
Rapeman,
Von Mondo, Von Mondo, Von Mondo, Von Mondo.
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.