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 Burundi and from Glasgow.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Cairo and Taipei.
I'm losing my edge to the art-school Salvador 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 David Bowie to the electroclash kids.
I played it at Trash.
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 Robert Görl. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every Stockholm Monsters 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Real Kids record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jawbox,
Supertramp,
Arthur Verocai,
Iggy Pop,
Yellowson,
Bobby Byrd,
The J.B.'s,
Electric Light Orchestra,
Pet Shop Boys,
Rekid,
Nik Kershaw,
Agent Orange,
Faust,
Japan,
Tommy Roe,
Red Lorry Yellow Lorry,
Siglo XX,
Anthony Braxton,
The Kinks,
Negative Approach,
Con Funk Shun,
Jimmy McGriff,
Crispian St. Peters,
The Happenings,
The United States of America,
Pulsallama,
Alton Ellis,
Monolake,
The Victims,
The Monks,
48th St. Collective,
The Raincoats,
Sunsets and Hearts,
Rosa Yemen,
The Blues Magoos,
Organ,
the Normal,
Ash Ra Tempel,
Darondo,
Main Source,
Skaos,
Avey Tare's Slasher Flicks,
Ralphi Rosario,
Aswad,
Black Sheep,
The Mojo Men,
Tropical Tobacco,
Throbbing Gristle,
Chris & Cosey,
Lou Reed & Metallica,
The Alarm Clocks,
The Dirtbombs,
Monks,
Y Pants,
Eric Copeland,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Faraquet,
Bluetip,
E-Dancer,
Talk Talk,
Q65,
Ultramagnetic MC's,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.