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 Nepal and from Hong Kong.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1962 to 1979.
I'm losing my edge.
To all the kids in Tokyo and New York.
I'm losing my edge to the art-school Salvador 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 güiro 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 The Neon Judgement to the funk kids.
I played it at the Troubador.
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 Magazine. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Rhythim Is Rhythim record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
New Order,
Kaleidoscope,
Joensuu 1685,
Selector Dub Narcotic,
Peter & Gordon,
The Stooges,
Janne Schatter,
Newcleus,
R.M.O.,
The Mojo Men,
Kings Of Tomorrow,
DeepChord presents Echospace,
Dead Boys,
Pole,
Interpol,
Bush Tetras,
JFA,
The Dirtbombs,
Arthur Verocai,
June of 44,
Sex Pistols,
The J.B.'s,
Wally Richardson,
The Barracudas,
Teenage Jesus and the Jerks,
X-101,
Ash Ra Tempel,
The Motions,
Franke,
Dave Gahan,
Stockholm Monsters,
Ken Boothe,
Icehouse,
Tres Demented,
The Tremeloes,
Echo & the Bunnymen,
Fat Boys,
The Shadows of Knight,
Roy Ayers Ubiquity,
Ice-T,
Strawberry Alarm Clock,
Drexciya,
Moss Icon,
Susan Cadogan,
A Flock of Seagulls,
Sight & Sound,
Gichy Dan,
The Birthday Party,
Marshall Jefferson,
Public Image Ltd.,
Lafayette Afro Rock Band,
Donny Hathaway,
the Swans,
The Human League,
Accadde A,
Sam Rivers,
Bobby Womack,
Richard Hell and the Voidoids,
Siglo XX,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.