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 Equatorial Guinea and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 Winnipeg and Salvador.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Unrelated Segments to the grunge kids.
I played it at the Crocodile.
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 The Doors. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every June of 44 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 a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
Model 500,
Cabaret Voltaire,
Bobbi Humphrey,
Brick,
Dual Sessions,
Barbara Tucker,
The Divine Comedy,
Marvin Gaye,
Jacob Miller,
Pantytec,
Outsiders,
Mission of Burma,
Scott Walker,
Bad Manners,
Alphaville,
The Misunderstood,
The Pop Group,
DJ Sneak,
Absolute Body Control,
Crispian St. Peters,
Lebanon Hanover,
Bobby Hutcherson,
The Victims,
Scion,
The Move,
Eve St. Jones,
The Invisible,
the Sonics,
Metal Thangz,
Lungfish,
Laurel Aitken,
Harpers Bizarre,
Minutemen,
the Fania All-Stars,
Make Up,
Orchestral Manoeuvres in the Dark,
Motorama,
Teenage Jesus and the Jerks,
The Cramps,
Shoche,
The Monks,
Yaz,
Nation of Ulysses,
The Raincoats,
The Mighty Diamonds,
X-Ray Spex,
The Barracudas,
Au Pairs,
Eddi Front,
John Lydon,
Negative Approach,
Rapeman,
The Fire Engines,
Funkadelic,
Oblivians,
Swans,
Ituana,
Frankie Knuckles,
the Soft Cell,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.