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 Slovakia and from Tokyo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Taipei and Mumbai.
I'm losing my edge to the art-school Madrid 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 marimba 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 The Music Machine to the crunk 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 kango's stein massive. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every Kaleidoscope 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
The Electric Prunes,
the Normal,
Fat Boys,
Inner City,
Procol Harum,
Sly & The Family Stone,
KRS-One,
Bobby Womack,
The Invisible,
The Monks,
Jacques Brel,
Rapeman,
Sister Nancy,
FM Einheit,
Newcleus,
Liaisons Dangereuses,
The Moody Blues,
Bob Dylan,
Kaleidoscope,
The Black Dice,
The Chocolate Watch Band,
Don Cherry,
Fela Kuti,
Arthur Verocai,
Boogie Down Productions,
T. Rex,
The Monochrome Set,
Icehouse,
The Tremeloes,
UT,
Von Mondo,
The Associates,
Television,
Funkadelic,
Babytalk,
Nik Kershaw,
Marc Almond,
Patti Smith,
Can,
The Real Kids,
Kevin Saunderson,
The Offenders,
The Leaves,
Monks,
Skriet,
Infiniti,
Roxy Music,
Sight & Sound,
Juan Atkins,
Pet Shop Boys,
Make Up,
Prince Buster,
Alton Ellis,
Matthew Bourne,
Joe Finger,
Wire,
the Sonics,
Rosa Yemen,
T.S.O.L.,
MDC,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.