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 Equatorial Guinea and from Stockholm.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Johannesburg.
I'm losing my edge to the art-school Bremen 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 Buzzcocks to the crunk kids.
I played it at the Hacienda.
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 Toasters. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Inner City record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
Idris Muhammad,
Boredoms,
Kauko Röyhkä ja Narttu,
Bauhaus,
Rites of Spring,
Underground Resistance,
Rekid,
The J.B.'s,
Q65,
Nirvana,
Depeche Mode,
Aswad,
Hasil Adkins,
Spoonie Gee,
Black Flag,
The Velvet Underground,
Sly & The Family Stone,
Oneida,
The West Coast Pop Art Experimental Band,
Sällskapet,
Chrome,
Kango’s Stein Massive,
Quadrant,
Kevin Saunderson,
Amon Düül II,
Interpol,
Mandrill,
The Red Krayola,
Deutsch Amerikanische Freundschaft,
The Dirtbombs,
Mars,
Deepchord,
The Cure,
Big Daddy Kane,
Michelle Simonal,
Roger Hodgson,
Man Eating Sloth,
Kas Product,
Mark Hollis,
Gichy Dan,
Intrusion,
The Cosmic Jokers,
Fad Gadget,
Orchestral Manoeuvres in the Dark,
Glambeats Corp.,
Wighnomy Brothers & Robag Wruhme,
Harpers Bizarre,
Pet Shop Boys,
Cybotron,
The Mojo Men,
Ludus,
Yazoo,
FM Einheit,
Grauzone,
Bill Wells,
The Wake,
Ponytail,
In Retrospect,
DeepChord presents Echospace,
X-Ray Spex,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.