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 Honduras 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 1968 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Salvador.
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 Donald Fagen 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 Rotary Connection to the rock kids.
I played it at the Roxy.
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 Henry Cow. All the underground hits.
All Eric B and Rakim tracks. I heard you have a vinyl of every Susan Cadogan record on German import.
I heard that you have a white label of every seminal crunk 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 güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
The Move,
T.S.O.L.,
Organ,
Maleditus Sound,
Derrick Morgan,
Deepchord,
Minnie Riperton,
Maurizio,
David Axelrod,
New Age Steppers,
Bronski Beat,
The Smoke,
Howard Jones,
In Retrospect,
Magazine,
The Seeds,
The Dirtbombs,
Motorama,
Black Flag,
Roxette,
The Dead C,
Basic Channel,
John Holt,
Nik Kershaw,
Ronan,
Model 500,
Half Japanese,
Joensuu 1685,
Little Man,
DJ Sneak,
The Royal Family And The Poor,
Unwound,
Grey Daturas,
Agitation Free,
Severed Heads,
Wolf Eyes,
Theoretical Girls,
Crispian St. Peters,
London Community Gospel Choir,
Arab on Radar,
The Smiths,
Fluxion,
The Flesh Eaters,
Easy Going,
The Blues Magoos,
Donny Hathaway,
Bobby Womack,
Bang on a Can All-Stars,
Sound Behaviour,
Fad Gadget,
The Real Kids,
Newcleus,
the Fania All-Stars,
The Saints,
Rowland S Howard / Lydia Lunch,
Al Stewart,
Aaron Thompson,
The Star Department,
Peter and Kerry,
Reuben Wilson,
Sexual Harrassment, Sexual Harrassment, Sexual Harrassment, Sexual Harrassment.
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.