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 Montenegro and from Toronto.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1970.
I'm losing my edge.
To all the kids in Lagos and Calgary.
I'm losing my edge to the art-school New York 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 mellotron 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 Soul II Soul to the techno 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 Sandy B. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every Zero Boys record on German import.
I heard that you have a white label of every seminal disco 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 linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
Minnie Riperton,
Japan,
Section 25,
Excepter,
Zapp,
Cabaret Voltaire,
the Sonics,
James Chance & The Contortions,
Bobby Sherman,
Strawberry Alarm Clock,
Icehouse,
Dark Day,
Derrick Morgan,
Anakelly,
Lebanon Hanover,
The Real Kids,
Livin' Joy,
Colin Newman,
Brand Nubian,
Bootsy Collins,
Tom Boy,
Young Marble Giants,
Sugar Minott,
The Five Americans,
Flash Fearless,
Johnny Clarke,
Kool G Rap & DJ Polo,
Susan Cadogan,
Reuben Wilson,
James White and The Blacks,
Steve Hackett,
David McCallum,
The Fall,
Michelle Simonal,
La Düsseldorf,
Q and Not U,
Little Man,
Nik Kershaw,
Procol Harum,
Bluetip,
Maleditus Sound,
Gastr Del Sol,
CMW,
ABBA,
Richard Hell and the Voidoids,
Funky Four + One,
Moss Icon,
Sandy B,
Bronski Beat,
The Remains,
Public Image Ltd.,
Franke,
Siglo XX,
Lightning Bolt,
Skarface,
Eurythmics,
Hardrive,
Bobby Byrd,
David Axelrod,
Hashim,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.