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 Ecuador and from Lyon.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1976.
I'm losing my edge.
To all the kids in Philadelphia and Glasgow.
I'm losing my edge to the art-school Manila 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 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 The Pretty Things to the disco 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 Piero Umiliani. All the underground hits.
All Banda Bassotti tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare's Slasher Flicks record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radio Birdman,
MC5,
Franke,
Curtis Mayfield,
Symarip,
Reagan Youth,
World's Most,
Interpol,
Deadbeat,
The Alarm Clocks,
Alice Coltrane,
Althea and Donna,
Prince Buster,
Moby Grape,
Drive Like Jehu,
Stereo Dub,
Aswad,
Faust,
The Blues Magoos,
Smog,
Charles Mingus,
Minor Threat,
Soft Machine,
Don Cherry,
CMW,
AZ,
Gary Puckett & The Union Gap,
Absolute Body Control,
Suburban Knight,
Gang Starr,
The Dead C,
Terrestrial Tones,
Technova,
The Angels of Light,
Outsiders,
Dead Boys,
Traffic Nightmare,
Joe Finger,
Neu!,
The Pop Group,
Thompson Twins,
Boredoms,
Unwound,
Alison Limerick,
Rekid,
De La Soul & Jungle Brothers,
Carl Craig,
The Gap Band,
The Mighty Diamonds,
Yazoo,
Quantec,
the Slits,
Reuben Wilson,
A Flock of Seagulls,
Buzzcocks,
Unrelated Segments,
Grauzone,
Television,
Eli Mardock,
Röyhkä ja Rättö ja Lehtisalo,
Fela Kuti,
R.M.O.,
L. Decosne, L. Decosne, L. Decosne, L. Decosne.
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.