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 Ireland and from Mumbai.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Toronto and Milan.
I'm losing my edge to the art-school Lille 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 808 sounds with much patience.
I was there when Holger Czukay 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 Funkadelic to the jazz kids.
I played it at the Astoria.
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 The Cramps. All the underground hits.
All World's Most tracks. I heard you have a vinyl of every The Seeds 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 clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Men They Couldn't Hang record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Fluxion,
Richard Hell and the Voidoids,
Lee Hazlewood,
Rakim,
Curtis Mayfield,
Public Enemy,
Brass Construction,
Young Marble Giants,
Ronan,
Crash Course in Science,
Tom Boy,
K-Klass,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Parry Music,
Traffic Nightmare,
The Techniques,
Oblivians,
Bad Manners,
Gichy Dan,
The Mummies,
Reuben Wilson,
Oppenheimer Analysis,
Monolake,
Arthur Verocai,
The Black Dice,
Hoover,
The Real Kids,
Lower 48,
Faraquet,
Nick Cave & The Bad Seeds,
Major Organ And The Adding Machine,
Jeru the Damaja,
The Raincoats,
Yellowson,
Gang of Four,
Schoolly D,
Scott Walker + Sunn O))),
Rhythm & Sound,
Bauhaus,
The Flesh Eaters,
Josef K,
Television Personalities,
Lakeside,
Aaron Thompson,
Kerri Chandler,
Archie Shepp,
Strawberry Alarm Clock,
Jesper Dahlbäck,
The Happenings,
Magma,
Maurizio,
Terrestrial Tones,
Wolf Eyes,
The Index,
Surgeon,
Brothers Johnson,
Grandmaster Flash,
The West Coast Pop Art Experimental Band,
Bill Wells,
Steve Hackett,
F. McDonald,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.