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 Brazil and from Delhi.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Portland and Shanghai.
I'm losing my edge to the art-school Cairo 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 theremin 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 Au Pairs to the crunk kids.
I played it at Cafe Wha.
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 Ponytail. All the underground hits.
All T.S.O.L. tracks. I heard you have a vinyl of every Qualms record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
Supertramp,
The Gun Club,
Hardrive,
Radiohead,
Nas,
Louis and Bebe Barron,
Dennis Brown,
Half Japanese,
Marc Romboy vs. Booka Shade,
Ash Ra Tempel,
Davy DMX,
L. Decosne,
The Velvet Underground,
X-102,
The Barracudas,
Bill Near,
Warren Ellis,
Kerrie Biddell,
Janne Schatter,
Eric Dolphy,
Sun Ra Arkestra,
Warsaw,
David Axelrod,
Byron Stingily,
Lalann,
Zero Boys,
Morten Harket,
Dual Sessions,
Brass Construction,
The Searchers,
Zapp,
Henry Cow,
Motorama,
Bronski Beat,
Ten City,
The Pop Group,
Lightning Bolt,
The Cure,
Fifty Foot Hose,
Eddi Front,
Section 25,
Dorothy Ashby,
Sällskapet,
Funkadelic,
Pete Rock & C.L. Smooth,
London Community Gospel Choir,
Camouflage,
Saccharine Trust,
Eric B and Rakim,
Liaisons Dangereuses,
Sugar Minott,
Bobbi Humphrey,
New York Dolls,
AZ,
The Smoke,
Neil Young,
Subhumans,
Sparks,
Pagans,
The Grass Roots,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.