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 Syria and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Tehran and Jakarta.
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 snare 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 Josef K to the jazz kids.
I played it at the Roxy.
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 Joey Negro. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every Rowland S Howard / Lydia Lunch record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Talk Talk,
Sonic Youth,
Andrew Ashong & Theo Parrish,
Qualms,
X-102,
Ice-T,
Connie Case,
Mark Hollis,
Gang Green,
Kauko Röyhkä ja Narttu,
Steve Hackett,
Oppenheimer Analysis,
Marine Girls,
Moebius,
Arcadia,
Gabor Szabo,
Avey Tare & Kría Brekkan,
Cabaret Voltaire,
Dark Day,
Aural Exciters,
Ajijia Myrayebe,
Janne Schatter,
Black Moon,
Hashim,
Rekid,
Eddi Front,
Eric B and Rakim,
Basic Channel,
The Flesh Eaters,
Faraquet,
the Swans,
Davy DMX,
The Toasters,
The Angels of Light,
Scratch Acid,
Heaven 17,
Godley & Creme,
Kurtis Blow,
Bill Wells,
Sun Ra Arkestra,
Metal Thangz,
The Star Department,
Soft Cell,
Ponytail,
David Axelrod,
Rahsaan Roland Kirk,
The Stooges,
Quantec,
Sexual Harrassment,
Organ,
Dave Gahan,
X-Ray Spex,
Manfred Mann's Earth Band,
Cal Tjader,
Notorious BIG live in Amsterdam,
Colin Newman,
Radio Birdman,
The Gap Band,
Yellowson,
Kas Product,
Wolf Eyes,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.