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 Kuwait and from Mexico City.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1975.
I'm losing my edge.
To all the kids in Cairo 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 organ sounds with much patience.
I was there when Tom Verlaine 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 Lucky Dragons to the electroclash 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 One Last Wish. All the underground hits.
All Lou Reed tracks. I heard you have a vinyl of every The Zeros record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your marimba and bought an organ.
I hear that you and your band have sold your organ and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Eli Mardock,
Magazine,
The Pop Group,
Gil Scott-Heron & Brian Jackson,
The West Coast Pop Art Experimental Band,
Fatback Band,
Jawbox,
Bauhaus,
L. Decosne,
The Moleskins,
Bush Tetras,
Hashim,
The Fall,
Sandy B,
Manfred Mann's Earth Band,
Moebius,
Thee Headcoats,
The Dead C,
Rhythm & Sound,
Marmalade,
Visage,
Swell Maps,
The Real Kids,
Anthony Braxton,
Nils Olav,
Country Teasers,
The Fortunes,
World's Most,
FM Einheit,
cv313,
KRS-One,
La Düsseldorf,
Pylon,
Nick Fraelich,
The Human League,
Soulsonic Force,
Warren Ellis,
Shuggie Otis,
Echospace,
The American Breed,
Frankie Knuckles,
Isaac Hayes,
Henry Cow,
Rhythim Is Rhythim,
Urselle,
Cameo,
Symarip,
Wolf Eyes,
Tres Demented,
John Foxx,
Eurythmics,
The Cosmic Jokers,
Sight & Sound,
Ponytail,
Graham Central Station,
Crime,
Heaven 17,
Eddi Front,
Porter Ricks,
The Leaves,
Morten Harket,
The Gories, The Gories, The Gories, The Gories.
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.