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 Mauritius and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1974.
I'm losing my edge.
To all the kids in Lagos and Halifax.
I'm losing my edge to the art-school Jakarta 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 güiro 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 Blake Baxter 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 Godley & Creme. All the underground hits.
All T.S.O.L. tracks. I heard you have a vinyl of every Agent Orange 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Infiniti,
Gang Starr,
Aloha Tigers,
Visage,
The Trojans,
Grey Daturas,
The Happenings,
Crash Course in Science,
Rosa Yemen,
The Gladiators,
The Cramps,
Stereo Dub,
The Invisible,
Jeru the Damaja,
Bob Dylan,
Urselle,
Peter Gordon & Love of Life Orchestra,
Liliput,
KRS-One,
Popol Vuh,
Wasted Youth,
Trumans Water,
E-Dancer,
One Last Wish,
Sunsets and Hearts,
The Last Poets,
Cybotron,
Ultravox,
the Germs,
The Fortunes,
Pierre Henry,
UT,
Gil Scott-Heron and Jamie xx,
La Düsseldorf,
The Real Kids,
Archie Shepp,
Thompson Twins,
Donny Hathaway,
Spandau Ballet,
The Saints,
Make Up,
Clear Light,
Gang Green,
Black Bananas,
Harpers Bizarre,
Bobby Womack,
Nik Kershaw,
Joe Smooth,
Section 25,
the Normal,
Sonic Youth,
Avey Tare's Slasher Flicks,
Leonard Cohen,
Delta 5,
Echospace,
The Seeds,
Main Source,
The Barracudas,
Eric B and Rakim,
Tim Buckley,
Judy Mowatt,
Lebanon Hanover,
Y Pants, Y Pants, Y Pants, Y Pants.
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.