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 Serbia and from Glasgow.
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 1961 to 1979.
I'm losing my edge.
To all the kids in New York and Johannesburg.
I'm losing my edge to the art-school Hong Kong 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 synthesizer 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 Pharaoh Sanders and the Fire Engines to the grime kids.
I played it at the Astoria.
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 Black Dice. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every LL Cool J record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Thee Headcoats record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Minutemen,
The Sonics,
Inner City,
Siouxsie and the Banshees,
Rekid,
John Coltrane,
Lee Hazlewood,
a-ha,
Lindisfarne,
the Soft Cell,
Khruangbin,
Derrick Morgan,
The Durutti Column,
the Bar-Kays,
Sight & Sound,
Throbbing Gristle,
The Motions,
Dave Gahan,
Rhythim Is Rhythim,
The New Christs,
Mandrill,
Mark Hollis,
Schoolly D,
Sun Ra Arkestra,
One Last Wish,
Iggy Pop,
Sly & The Family Stone,
Quantec,
Bluetip,
Eric Copeland,
Ash Ra Tempel,
Derrick May,
Todd Terry,
Hashim,
Brick,
LL Cool J,
Sexual Harrassment,
Rowland S Howard / Lydia Lunch,
The Beau Brummels,
China Crisis,
Terrestrial Tones,
The Stooges,
Super Lover Cee & Casanova Rud,
Glenn Branca,
Anakelly,
Andrew Hill,
Thinking Fellers Union Local 282,
Gil Scott-Heron and Jamie xx,
Aswad,
Tropical Tobacco,
Robert Hood,
Carl Craig,
Marc Romboy vs. Booka Shade,
Albert Ayler,
The Gories,
Roger Hodgson,
Angry Samoans,
Heaven 17,
The Evens,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.