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 Uganda and from Sao Paulo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1964 to 1977.
I'm losing my edge.
To all the kids in Tehran and Johannesburg.
I'm losing my edge to the art-school Paris 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 guitar sounds with much patience.
I was there when Captain Beefheart 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 Stockholm Monsters to the crunk kids.
I played it at the Spitz.
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 Arab on Radar. All the underground hits.
All Thinking Fellers Union Local 282 tracks. I heard you have a vinyl of every Kenny Larkin record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
Hot Snakes,
AZ,
Slave,
DJ Style,
Guru Guru,
Charles Mingus,
MDC,
The Searchers,
Moebius,
The Cosmic Jokers,
Curtis Mayfield,
Gastr Del Sol,
Kaleidoscope,
Magazine,
Matthew Halsall,
H. Thieme,
Traffic Nightmare,
Art Ensemble Of Chicago,
Junior Murvin,
Quantec,
the Soft Cell,
Vainqueur,
Sight & Sound,
Glambeats Corp.,
Nation of Ulysses,
a-ha,
The Doobie Brothers,
Sarah Menescal,
Ultra Naté,
Susan Cadogan,
U.S. Maple,
Heaven 17,
A Certain Ratio,
Jacques Brel,
Avey Tare,
Mad Mike,
Justin Hinds & The Dominoes,
The Music Machine,
Lower 48,
Teenage Jesus and the Jerks,
Unrelated Segments,
Ornette Coleman,
Kevin Saunderson,
Ronan,
Orchestral Manoeuvres in the Dark,
Ice-T,
Adolescents,
The Mojo Men,
Echo & the Bunnymen,
Nick Fraelich,
Wasted Youth,
The Fuzztones,
Janne Schatter,
Marc Almond,
Animal Collective,
Chrome,
Radiohead,
Ossler,
The Gun Club,
Idris Muhammad,
Chris Corsano,
Albert Ayler,
Kurtis Blow,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.