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 Oman and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Portland and Delhi.
I'm losing my edge to the art-school Johannesburg 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 sitar 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 Dorothy Ashby to the rap kids.
I played it at the 40 Watt.
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 Traffic Nightmare. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every Mission of Burma record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Walker Brothers,
Heaven 17,
Joy Division,
The Durutti Column,
Sad Lovers and Giants,
The Chocolate Watch Band,
It's A Beautiful Day,
Lonnie Liston Smith,
Delta 5,
Crime,
These Immortal Souls,
Henry Cow,
Byron Stingily,
One Last Wish,
DJ Sneak,
Hot Snakes,
Alphaville,
Oblivians,
The Smoke,
Pharoah Sanders,
Sällskapet,
Nick Fraelich,
The Blues Magoos,
KRS-One,
Isaac Hayes,
Tropical Tobacco,
Hardrive,
Half Japanese,
Crispian St. Peters,
MC5,
Sound Behaviour,
Con Funk Shun,
Eve St. Jones,
The Pretty Things,
Vaughan Mason & Crew,
Alison Limerick,
Bob Dylan,
Todd Terry,
a-ha,
Depeche Mode,
Davy DMX,
Marc Romboy vs. Booka Shade,
Guru Guru,
Dave Gahan,
Slick Rick,
Max Romeo,
Von Mondo,
Josef K,
Pierre Henry,
Crooked Eye,
The Beau Brummels,
Pulsallama,
Sex Pistols,
The Peanut Butter Conspiracy,
The Selecter,
Roxette,
Kurtis Blow,
Gerry Rafferty, Gerry Rafferty, Gerry Rafferty, Gerry Rafferty.
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.