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 Montenegro and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Taipei.
I'm losing my edge to the art-school Madrid 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 clarinet sounds with much patience.
I was there when Holger Czukay 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 David McCallum to the grime kids.
I played it at the Crocodile.
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 Chrome. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every The Real Kids 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 '50s cut and another box set from the '70s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
Eli Mardock,
Major Organ And The Adding Machine,
Cabaret Voltaire,
Visage,
Crispy Ambulance,
Wolf Eyes,
Gian Franco Pienzio,
The Fire Engines,
Lou Reed & Metallica,
Minny Pops,
Lou Reed,
Ash Ra Tempel,
Kurtis Blow,
Derrick Morgan,
Darondo,
Funkadelic,
Supertramp,
Eric Dolphy,
Sly & The Family Stone,
Kool G Rap & DJ Polo,
Sonny Sharrock,
Joyce Sims,
Kevin Saunderson,
Swell Maps,
Electric Prunes,
Excepter,
Dorothy Ashby,
Sugar Minott,
Cal Tjader,
Ultravox,
The Victims,
Harpers Bizarre,
Stockholm Monsters,
John Cale,
Eden Ahbez,
Joey Negro,
Monolake,
X-102,
Juan Atkins,
Audionom,
Stetsasonic,
the Sonics,
Kango’s Stein Massive,
Can,
The United States of America,
Youth Brigade,
H. Thieme,
Anthony Braxton,
Glambeats Corp.,
Bobby Womack,
Scrapy,
Country Joe & The Fish,
The Remains,
Scion,
K-Klass,
The Cramps,
ABBA,
Pylon,
Hasil Adkins,
Hashim,
Dead Boys,
The Kinks, The Kinks, The Kinks, The Kinks.
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.