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 Sri Lanka and from Spokane.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1971.
I'm losing my edge.
To all the kids in Mumbai and Manchester.
I'm losing my edge to the art-school Lyon 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 linndrum 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 Eurythmics to the punk kids.
I played it at the 40 Watt.
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 Dawn Penn. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a John Foxx record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
Nick Cave & The Bad Seeds,
Michelle Simonal,
The United States of America,
Avey Tare,
Basic Channel,
Gil Scott-Heron & Brian Jackson,
Aural Exciters,
Eric Dolphy,
Masters at Work,
Lower 48,
Crime,
The J.B.'s,
the Fania All-Stars,
Deepchord,
The Angels of Light,
Curtis Mayfield,
Charles Mingus,
8 Eyed Spy,
Sight & Sound,
Inner City,
One Last Wish,
Anthony Braxton,
Harmonia,
Wings,
Jacques Brel,
The Leaves,
Justin Hinds & The Dominoes,
Grauzone,
Susan Cadogan,
Nils Olav,
ABC,
the Soft Cell,
the Association,
Mars,
Radiopuhelimet,
Avey Tare's Slasher Flicks,
Anakelly,
Accadde A,
The Monks,
Suicide,
Toni Rubio,
Marcia Griffiths,
Jawbox,
Max Romeo,
Fat Boys,
Whodini,
Fifty Foot Hose,
Robert Görl,
Soft Cell,
Pantytec,
UT,
Motorama,
Röyhkä ja Rättö ja Lehtisalo,
Sugar Minott,
X-102,
Lyres,
The Royal Family And The Poor,
Ponytail,
Sun Ra,
Cal Tjader,
The Beau Brummels,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.