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 Norway and from Lille.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Hong Kong.
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 linndrum sounds with much patience.
I was there when Captain Beefheart 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 Drexciya to the dance 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 Rotary Connection. All the underground hits.
All DeepChord presents Echospace tracks. I heard you have a vinyl of every Tomorrow 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 '50s cut and another box set from the '80s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sonics,
Brand Nubian,
Lee Hazlewood,
Judy Mowatt,
Bobby Hutcherson,
Sam Rivers,
Marine Girls,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Erasure,
Tom Boy,
Gil Scott-Heron & Brian Jackson,
Major Organ And The Adding Machine,
Jacob Miller,
Nils Olav,
Interpol,
The Sisters of Mercy,
The Monks,
The Wake,
Stiv Bators,
Sister Nancy,
Half Japanese,
the Association,
Junior Murvin,
Sexual Harrassment,
The Detroit Cobras,
Mandrill,
Sunsets and Hearts,
June of 44,
The Blackbyrds,
Dawn Penn,
Black Flag,
Matthew Bourne,
Radio Birdman,
Wolf Eyes,
Qualms,
L. Decosne,
Gil Scott Heron,
Unrelated Segments,
Donald Byrd,
Vladislav Delay,
Sun City Girls,
Suicide,
Jeru the Damaja,
Lucky Dragons,
Marcia Griffiths,
Altered Images,
Grey Daturas,
Supertramp,
The Beau Brummels,
The Standells,
Peter Gordon & Love of Life Orchestra,
Wire,
Kurtis Blow,
Buzzcocks,
Josef K,
Saccharine Trust,
The Searchers,
Alton Ellis,
Colin Newman,
Rakim,
Richard Hell and the Voidoids,
Delta 5,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.