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 Serbia and from Edmonton.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Spokane and Mumbai.
I'm losing my edge to the art-school Stockholm 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 Michael McDonald 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 Barrington Levy to the dance 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 Kevin Saunderson. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every Ultramagnetic MC's record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Jimmy McGriff 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?
Gang Green,
UT,
Terry Callier,
Nick Fraelich,
Bobby Sherman,
Porter Ricks,
Kevin Saunderson,
Moby Grape,
F. McDonald,
The Golliwogs,
Eurythmics,
Cecil Taylor,
Technova,
The Birthday Party,
Kerri Chandler,
Maleditus Sound,
Marc Romboy vs. Booka Shade,
Depeche Mode,
Royal Trux,
Iggy Pop,
Q and Not U,
Surgeon,
Oppenheimer Analysis,
the Germs,
The Skatalites,
Drive Like Jehu,
Sight & Sound,
Sarah Menescal,
The Busters,
Mark Hollis,
Second Layer,
Aural Exciters,
The Human League,
Slick Rick,
Ohio Players,
Janne Schatter,
Cheater Slicks,
Ultra Naté,
Au Pairs,
The Gun Club,
Michelle Simonal,
The West Coast Pop Art Experimental Band,
John Cale,
The Sound,
Jeru the Damaja,
Inner City,
Brothers Johnson,
PIL,
Man Parrish,
Red Lorry Yellow Lorry,
Pere Ubu,
Aswad,
Bizarre Inc.,
Laurel Aitken,
the Soft Cell,
The Fugs,
James Chance & The Contortions,
Electric Light Orchestra,
Television Personalities,
Slave,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.