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 Dominica and from Cairo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Manchester and New York.
I'm losing my edge to the art-school Woodstock 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Kango’s Stein Massive to the grime kids.
I played it at the Troubador.
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 Audionom. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Bronski Beat record on German import.
I heard that you have a white label of every seminal disco 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 organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Sarah Menescal,
Deutsch Amerikanische Freundschaft,
Ossler,
The Gap Band,
Procol Harum,
Sixth Finger,
Radiohead,
Alphaville,
Ultramagnetic MC's,
Infiniti,
Arthur Verocai,
Leonard Cohen,
Orchestral Manoeuvres in the Dark,
Colin Newman,
Stockholm Monsters,
The Zeros,
cv313,
Tubeway Army,
Mars,
The Seeds,
The Buckinghams,
The Flesh Eaters,
Ultimate Spinach,
Lalann,
Johnny Clarke,
Gil Scott-Heron and Jamie xx,
the Slits,
The Martian,
Alison Limerick,
OOIOO,
Outsiders,
Avey Tare's Slasher Flicks,
Thinking Fellers Union Local 282,
Roxy Music,
Roy Ayers Ubiquity,
Public Enemy,
The Smoke,
Rhythim Is Rhythim,
June Days,
London Community Gospel Choir,
Blossom Toes,
John Holt,
The Litter,
The Dirtbombs,
Fela Kuti,
Harmonia,
Eric Dolphy,
Fear,
Rekid,
Eurythmics,
Con Funk Shun,
Cecil Taylor,
The Stooges,
Monolake,
Motorama,
The United States of America,
T.S.O.L.,
The Cowsills,
Maleditus Sound,
Boogie Down Productions,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.