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 Tunisia and from Hong Kong.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1973.
I'm losing my edge.
To all the kids in Salvador and Houston.
I'm losing my edge to the art-school Manchester 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 808 sounds with much patience.
I was there when David Bowie 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 Throbbing Gristle to the techno kids.
I played it at Cafe Wha.
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 Qualms. All the underground hits.
All One Last Wish tracks. I heard you have a vinyl of every The Five Americans 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 '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young & Crazy Horse record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Second Layer,
Sarah Menescal,
Bizarre Inc.,
Deepchord,
Franke,
Dead Boys,
Jimmy McGriff,
Derrick May,
Simply Red,
Clear Light,
Sunsets and Hearts,
Dark Day,
Average White Band,
Roy Ayers Ubiquity,
Tubeway Army,
Man Parrish,
The Sound,
The Flesh Eaters,
Judy Mowatt,
Frankie Knuckles,
Vladislav Delay,
Eric Copeland,
Pulsallama,
Monolake,
Yazoo,
Tears for Fears,
Dual Sessions,
Supertramp,
John Holt,
Con Funk Shun,
Au Pairs,
Loose Ends,
Deutsch Amerikanische Freundschaft,
Barrington Levy,
Vaughan Mason & Crew,
Barclay James Harvest,
AZ,
Pet Shop Boys,
Technova,
Boogie Down Productions,
Inner City,
Ten City,
Bauhaus,
Piero Umiliani,
UT,
Warsaw,
The United States of America,
K-Klass,
Ponytail,
Mr. Review,
Los Fastidios,
Minnie Riperton,
Siglo XX,
Schoolly D,
Das Ding,
Max Romeo,
Patti Smith,
The Neon Judgement,
Eurythmics,
Susan Cadogan,
Q and Not U,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.