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 Samoa and from Taipei.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Johannesburg.
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 Captain Beefheart 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 Eric Copeland to the rock kids.
I played it at the Spitz.
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 Cabaret Voltaire. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every The Fortunes record on German import.
I heard that you have a white label of every seminal disco 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 an organ and are throwing your macbook out the window because you want to make something real. You want to make a Kas Product record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Liliput,
Bill Near,
Aural Exciters,
Minutemen,
Ludus,
Marshall Jefferson,
Bootsy Collins,
Michelle Simonal,
David McCallum,
Second Layer,
T.S.O.L.,
Yellowson,
Blancmange,
Robert Görl,
Teenage Jesus and the Jerks,
The Knickerbockers,
China Crisis,
Bootsy's Rubber Band,
Zapp,
R.M.O.,
Gil Scott-Heron & Brian Jackson,
Average White Band,
Moss Icon,
Kerrie Biddell,
Fort Wilson Riot,
Todd Rundgren,
the Association,
Josef K,
Echospace,
Aaron Thompson,
Nas,
La Düsseldorf,
Grandmaster Flash,
Howard Jones,
Sällskapet,
Spoonie Gee,
Kas Product,
Black Moon,
Steve Hackett,
Cybotron,
Lou Reed & John Cale,
Sex Pistols,
Jeru the Damaja,
Black Flag,
Motorama,
Dark Day,
Danielle Patucci,
Lee Hazlewood,
Soul Sonic Force,
De La Soul & Jungle Brothers,
Mission of Burma,
Bang on a Can All-Stars,
Soft Cell,
The Detroit Cobras,
Louis and Bebe Barron,
John Foxx,
The Durutti Column,
Easy Going,
Angry Samoans,
Public Enemy,
Lakeside,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.