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 Kiribati and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Shanghai.
I'm losing my edge to the art-school Winnipeg 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 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 Vaughan Mason & Crew to the rap 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 John Foxx. All the underground hits.
All Chrome tracks. I heard you have a vinyl of every Sex Pistols record on German import.
I heard that you have a white label of every seminal rap 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 harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
E-Dancer,
Scan 7,
8 Eyed Spy,
Albert Ayler,
Roxette,
Bizarre Inc.,
Gabor Szabo,
These Immortal Souls,
Au Pairs,
Loose Ends,
Black Pus,
The Monks,
Alton Ellis,
Louis and Bebe Barron,
The Jesus and Mary Chain,
Jerry Gold Smith,
Pole,
Public Image Ltd.,
Jeru the Damaja,
Bobby Womack,
Glenn Branca,
Make Up,
Bobby Hutcherson,
Outsiders,
The Sound,
Harpers Bizarre,
Wolf Eyes,
Manfred Mann's Earth Band,
Public Enemy,
Eyeless In Gaza,
Anakelly,
Mandrill,
Harmonia,
Buzzcocks,
The Busters,
Quantec,
Roxy Music,
Lungfish,
Porter Ricks,
The Fugs,
Eddi Front,
the Bar-Kays,
Grandmaster Flash,
Malaria!,
Darondo,
Richard Hell and the Voidoids,
Can,
Fifty Foot Hose,
Lizzy Mercier Descloux,
H. Thieme,
Clear Light,
Eurythmics,
Rhythim Is Rhythim,
Rosa Yemen,
Terrestrial Tones,
Nas,
Bill Near,
The Fuzztones,
Bauhaus,
Jerry's Kids,
Barclay James Harvest,
Kango’s Stein Massive,
Skaos, Skaos, Skaos, Skaos.
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.