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 Laos and from Manila.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1974.
I'm losing my edge.
To all the kids in London and Edmonton.
I'm losing my edge to the art-school Portland 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 David Bowie 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 Hasil Adkins to the jazz 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 Sex Pistols. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every The Flesh Eaters 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
DJ Sneak,
Section 25,
Black Flag,
The Sisters of Mercy,
Excepter,
Kerrie Biddell,
June Days,
Delon & Dalcan,
Colin Newman,
Skriet,
Groovy Waters,
Archie Shepp,
Avey Tare,
Radio Birdman,
Agitation Free,
Black Pus,
Minutemen,
Amon Düül,
The Shadows of Knight,
Boredoms,
Das Ding,
Pagans,
Terrestrial Tones,
Soul Sonic Force,
ABBA,
Stockholm Monsters,
Ten City,
Johnny Clarke,
Schoolly D,
Ash Ra Tempel,
Sun Ra,
Oneida,
Louis and Bebe Barron,
Q and Not U,
Simply Red,
Banda Bassotti,
Trumans Water,
Los Fastidios,
Hardrive,
Blake Baxter,
The Flesh Eaters,
Nico,
Roy Ayers Ubiquity,
Aural Exciters,
Boogie Down Productions,
Orchestral Manoeuvres in the Dark,
The Kinks,
Panda Bear,
Aswad,
Byron Stingily,
Avey Tare's Slasher Flicks,
Black Moon,
Eddi Front,
Peter Gordon & Love of Life Orchestra,
Moby Grape,
The Gladiators,
Qualms,
Adolescents,
Gerry Rafferty,
Ituana, Ituana, Ituana, Ituana.
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.