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 Congo and from Houston.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Spokane and Taipei.
I'm losing my edge to the art-school Lille 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 harpsichord 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 Hot Snakes to the electroclash 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 Reuben Wilson. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs record on German import.
I heard that you have a white label of every seminal grime 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 theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Can record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Harpers Bizarre,
Dennis Brown,
X-101,
Cymande,
Shuggie Otis,
Deepchord,
Anthony Braxton,
Captain Beefheart & His Magic Band,
Bobby Byrd,
X-102,
Bobby Womack,
The Sound,
Infiniti,
Blake Baxter,
Cecil Taylor,
Section 25,
Lonnie Liston Smith,
Wolf Eyes,
Japan,
Terrestrial Tones,
The Vogues,
8 Eyed Spy,
The United States of America,
Fluxion,
Severed Heads,
Michelle Simonal,
Carl Craig,
Agitation Free,
Pagans,
Traffic Nightmare,
the Bar-Kays,
Cheater Slicks,
Second Layer,
E-Dancer,
Andrew Ashong & Theo Parrish,
Manfred Mann's Earth Band,
Model 500,
the Swans,
The Human League,
Glambeats Corp.,
Neil Young,
The Doors,
Matthew Halsall,
Major Organ And The Adding Machine,
Neu!,
The Buckinghams,
Boredoms,
The Remains,
Shoche,
Deadbeat,
Pylon,
Minor Threat,
Sun Ra Arkestra,
FM Einheit,
Heaven 17,
Lou Reed,
The Count Five,
Monks,
Tomorrow,
James Chance & The Contortions,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.