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 Lithuania and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Lyon and Glasgow.
I'm losing my edge to the art-school Paris 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 1968 at the first Can practice in a loft in Cologne.
I was working on the 808 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 Kango’s Stein Massive to the grime 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 Kerri Chandler. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every The United States of America 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 '80s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
The Moody Blues,
Kevin Saunderson,
Ronan,
Lonnie Liston Smith,
The Cowsills,
Agent Orange,
Mr. Review,
Laurel Aitken,
Thee Headcoats,
Quantec,
The Trojans,
The Doobie Brothers,
Gang of Four,
OOIOO,
Faraquet,
Man Eating Sloth,
Siouxsie and the Banshees,
The Associates,
Main Source,
Sound Behaviour,
The Grass Roots,
The Smiths,
Desert Stars,
Sun Ra Arkestra,
Angry Samoans,
K-Klass,
Pussy Galore,
Kaleidoscope,
Rosa Yemen,
Stockholm Monsters,
48th St. Collective,
Cal Tjader,
The Techniques,
Supertramp,
H. Thieme,
Pete Rock & C.L. Smooth,
Tomorrow,
La Düsseldorf,
The Mojo Men,
Bauhaus,
Gabor Szabo,
The Invisible,
Public Enemy,
Gang Green,
the Soft Cell,
Interpol,
Tears for Fears,
Eddi Front,
Y Pants,
T. Rex,
Excepter,
Man Parrish,
Rowland S Howard / Lydia Lunch,
Ash Ra Tempel,
Chrome,
Henry Cow,
Godley & Creme,
Joey Negro,
Fort Wilson Riot,
Audionom,
Eden Ahbez,
The Motions,
Subhumans, Subhumans, Subhumans, Subhumans.
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.