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 El Salvador and from Taipei.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1973.
I'm losing my edge.
To all the kids in Jakarta and Taipei.
I'm losing my edge to the art-school Shanghai 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Piero Umiliani to the techno 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 The Real Kids. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Negative Approach record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Prince Buster,
Soft Machine,
The Slackers,
Yazoo,
Roy Ayers Ubiquity,
Slave,
Blake Baxter,
Depeche Mode,
U.S. Maple,
Boredoms,
T. Rex,
The Fuzztones,
Johnny Clarke,
Peter & Gordon,
Boogie Down Productions,
H. Thieme,
Kings Of Tomorrow,
Adolescents,
K-Klass,
Bang on a Can All-Stars,
Crash Course in Science,
James Chance & The Contortions,
Quantec,
Q and Not U,
X-Ray Spex,
48th St. Collective,
The Offenders,
The Residents,
Parry Music,
Vladislav Delay,
Rod Modell,
New York Dolls,
Cymande,
Eurythmics,
The Doors,
X-102,
The Velvet Underground,
Quando Quango,
Von Mondo,
The Moody Blues,
Gil Scott-Heron & Brian Jackson,
Kurtis Blow,
Public Image Ltd.,
Fad Gadget,
the Germs,
Ronan,
Heaven 17,
Sight & Sound,
Ash Ra Tempel,
The West Coast Pop Art Experimental Band,
Jawbox,
Television,
Urselle,
Iggy Pop,
Bluetip,
Idris Muhammad,
Infiniti,
Vainqueur,
8 Eyed Spy,
Justin Hinds & The Dominoes,
Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam.
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.