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 Syria and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Lagos and Stockholm.
I'm losing my edge to the art-school Woodstock 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Audionom to the techno kids.
I played it at Trash.
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 Severed Heads. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Slits 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?
Arab on Radar,
The Star Department,
Piero Umiliani,
Average White Band,
Lizzy Mercier Descloux,
Magma,
Shuggie Otis,
The Selecter,
Accadde A,
The Walker Brothers,
Masters at Work,
Dawn Penn,
Lou Reed & John Cale,
Barrington Levy,
Bauhaus,
Matthew Bourne,
Scott Walker,
Tommy Roe,
Lee Hazlewood,
Mark Hollis,
Arcadia,
Maurizio,
Neil Young & Crazy Horse,
Dark Day,
Rowland S Howard / Lydia Lunch,
Eric Dolphy,
Scratch Acid,
Davy DMX,
Jimmy McGriff,
Rod Modell,
F. McDonald,
Eyeless In Gaza,
The Slits,
a-ha,
Slick Rick,
Mo-Dettes,
Man Eating Sloth,
Basic Channel,
Underground Resistance,
Gil Scott Heron,
The Sound,
Intrusion,
Parry Music,
Monolake,
Ituana,
Stiv Bators,
Duran Duran,
The Stooges,
The Music Machine,
Quantec,
De La Soul & Jungle Brothers,
The Neon Judgement,
Essential Logic,
Notorious BIG live in Amsterdam,
Pete Rock & C.L. Smooth,
Toni Rubio,
Sad Lovers and Giants,
Babytalk,
Skaos,
Chris & Cosey,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.