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 Georgia and from Bremen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Hong Kong.
I'm losing my edge to the art-school Jakarta 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 Nile Rodgers 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 Gladiators to the rap 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 New York Dolls. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every The Royal Family And The Poor record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Iggy Pop,
The Vogues,
Spandau Ballet,
Visage,
Kool Moe Dee,
UT,
Mantronix,
La Düsseldorf,
Ornette Coleman,
Symarip,
Arcadia,
The Raincoats,
Delta 5,
Graham Central Station,
Negative Approach,
China Crisis,
Gabor Szabo,
Half Japanese,
Sonic Youth,
Andrew Ashong & Theo Parrish,
DeepChord presents Echospace,
Grey Daturas,
Marshall Jefferson,
Television Personalities,
DJ Style,
Freddie Wadling,
Y Pants,
Davy DMX,
Minnie Riperton,
Byron Stingily,
Tom Boy,
Boogie Down Productions,
Oneida,
Outsiders,
Ultravox,
Angry Samoans,
the Swans,
Henry Cow,
Electric Light Orchestra,
Nas,
Gary Puckett & The Union Gap,
Theoretical Girls,
Interpol,
Sarah Menescal,
Big Daddy Kane,
Scrapy,
Throbbing Gristle,
Lizzy Mercier Descloux,
Glambeats Corp.,
Susan Cadogan,
Curtis Mayfield,
Marvin Gaye,
Suicide,
Bob Dylan,
Franke,
Deakin,
The Toasters,
Tim Buckley,
The Gap Band,
The Fire Engines,
The New Christs,
Young Marble Giants,
Thee Headcoats,
Manfred Mann's Earth Band, Manfred Mann's Earth Band, Manfred Mann's Earth Band, Manfred Mann's Earth Band.
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.