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 Edmonton.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Lagos and Madrid.
I'm losing my edge to the art-school Johannesburg 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 marimba sounds with much patience.
I was there when Lou Reed 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 Ronnie Foster to the dance kids.
I played it at the Spitz.
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 The Chocolate Watch Band. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every Rosa Yemen record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Simply Red record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
Dorothy Ashby,
Suicide,
The Peanut Butter Conspiracy,
Jandek,
Arab on Radar,
New York Dolls,
Amon Düül,
Whodini,
Ken Boothe,
Kenny Larkin,
Blancmange,
the Soft Cell,
Ossler,
Moebius,
Shoche,
the Swans,
Black Flag,
Throbbing Gristle,
The Selecter,
Accadde A,
Half Japanese,
Pagans,
Pantytec,
Pulsallama,
The Invisible,
Vladislav Delay,
T.S.O.L.,
The Move,
The Five Americans,
Fatback Band,
Bang on a Can All-Stars,
The Sound,
Bobby Sherman,
Kango’s Stein Massive,
Lucky Dragons,
Nick Cave & The Bad Seeds,
Siouxsie and the Banshees,
Metal Thangz,
Hasil Adkins,
Aaron Thompson,
Louis and Bebe Barron,
Robert Wyatt,
In Retrospect,
The Dead C,
Icehouse,
June Days,
Oppenheimer Analysis,
La Düsseldorf,
the Association,
Gian Franco Pienzio,
Guru Guru,
Wolf Eyes,
Josef K,
Rosa Yemen,
Ultra Naté,
Carl Craig,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Camron Feat. Jay Z And Juelz,
Gastr Del Sol,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.