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 Lebanon and from Sao Paulo.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Lyon and Mexico City.
I'm losing my edge to the art-school London 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 organ sounds with much patience.
I was there when Michael McDonald 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 Urselle to the rock 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 Newcleus. All the underground hits.
All Monks tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heaven 17,
Orchestral Manoeuvres in the Dark,
Steve Hackett,
Agitation Free,
The Move,
Joensuu 1685,
Mandrill,
The Raincoats,
The Saints,
Nas,
Delta 5,
Sun City Girls,
The Black Dice,
Max Romeo,
Tommy Roe,
Carl Craig,
Roger Hodgson,
Lakeside,
the Soft Cell,
Jesper Dahlback,
The Slackers,
Siouxsie and the Banshees,
Grauzone,
The Pretty Things,
Heavy D & The Boyz,
The Dead C,
Toni Rubio,
These Immortal Souls,
Aural Exciters,
Gabor Szabo,
Terry Callier,
Graham Central Station,
Black Flag,
Peter and Kerry,
James Chance & The Contortions,
Magma,
Donny Hathaway,
Connie Case,
48th St. Collective,
Jawbox,
The Evens,
Minor Threat,
The Buckinghams,
Warsaw,
Aswad,
The Sound,
Bush Tetras,
ABC,
The Blues Magoos,
The J.B.'s,
Junior Murvin,
Stockholm Monsters,
EPMD,
Sarah Menescal,
Ossler,
Excepter,
Masters at Work,
Khruangbin,
Theoretical Girls,
The Doors,
FM Einheit,
Ponytail,
The Fugs,
the Normal, the Normal, the Normal, the Normal.
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.