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 Sierra Leone and from Winnipeg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Columbus and Lyon.
I'm losing my edge to the art-school Cairo 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 rhodes 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 Vaughan Mason & Crew to the funk kids.
I played it at the Astoria.
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 Scott Walker. All the underground hits.
All The Evens tracks. I heard you have a vinyl of every Arcadia 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Rhythim Is Rhythim,
The Detroit Cobras,
The Velvet Underground,
Dave Gahan,
Orchestral Manoeuvres in the Dark,
The Red Krayola,
Ralphi Rosario,
Jacques Brel,
Ajijia Myrayebe,
Terry Callier,
Eric Copeland,
Pharoah Sanders,
Rowland S Howard / Lydia Lunch,
Terrestrial Tones,
Stereo Dub,
Alton Ellis,
The Vogues,
Barry Ungar,
Adolescents,
The Motions,
Cybotron,
Bronski Beat,
Mantronix,
Davy DMX,
Eden Ahbez,
Lee Hazlewood,
E-Dancer,
Visage,
Bush Tetras,
Visionaries,LMNO, T- Love & Iriscience,
Siouxsie and the Banshees,
La Düsseldorf,
Röyhkä ja Rättö ja Lehtisalo,
Joe Finger,
Strawberry Alarm Clock,
Robert Hood,
Con Funk Shun,
Captain Beefheart & His Magic Band,
Soul Sonic Force,
Main Source,
The Skatalites,
Soft Cell,
Second Layer,
Organ,
The Pop Group,
Roy Ayers Ubiquity,
The Neon Judgement,
ABC,
Radiohead,
Sunsets and Hearts,
Chrome,
Animal Collective,
Fad Gadget,
Soft Machine,
Tomorrow,
Johnny Osbourne,
Kayak,
Michelle Simonal,
James Chance & The Contortions,
The American Breed, The American Breed, The American Breed, The American Breed.
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.