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 Colombia and from Milan.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Calgary and Glasgow.
I'm losing my edge to the art-school Seoul 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 güiro 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 Grey Daturas to the rap kids.
I played it at the 40 Watt.
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 Rufus Thomas. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Nils Olav 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Clarke,
Terrestrial Tones,
Smog,
Bill Near,
Eric Copeland,
Rahsaan Roland Kirk,
New York Dolls,
Model 500,
Desert Stars,
Marc Almond,
The Techniques,
Scientists,
Liliput,
R.M.O.,
Stiv Bators,
Blancmange,
ABC,
Sight & Sound,
Bauhaus,
Harpers Bizarre,
The Pop Group,
Hot Snakes,
Jacques Brel,
The Mojo Men,
Quando Quango,
Robert Wyatt,
Be Bop Deluxe,
Agent Orange,
Strawberry Alarm Clock,
The Victims,
Khruangbin,
Pole,
Archie Shepp,
Grey Daturas,
Janne Schatter,
the Sonics,
Crispian St. Peters,
The Evens,
The Happenings,
Albert Ayler,
Country Teasers,
Ossler,
The Moleskins,
Gian Franco Pienzio,
Angry Samoans,
Mad Mike,
Yellowson,
Alton Ellis,
ABBA,
Ajijia Myrayebe,
Chris Corsano,
Jesper Dahlback,
Eve St. Jones,
The Dirtbombs,
Dawn Penn,
The Peanut Butter Conspiracy,
Stereo Dub,
Loose Ends,
Stockholm Monsters,
Wally Richardson,
Derrick Morgan,
Deakin, Deakin, Deakin, Deakin.
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.