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 Bulgaria and from New York.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1968 to 1979.
I'm losing my edge.
To all the kids in Lille and Manila.
I'm losing my edge to the art-school Beijing 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 güiro 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 The Doobie Brothers to the rap kids.
I played it at the Roxy.
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 CMW. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every The Motions record on German import.
I heard that you have a white label of every seminal funk 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 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Barracudas record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Neil Young & Crazy Horse,
The Gories,
Schoolly D,
The Pretty Things,
Procol Harum,
Gang Starr,
LL Cool J,
The Fugs,
It's A Beautiful Day,
Section 25,
Visionaries,LMNO, T- Love & Iriscience,
The Litter,
PIL,
Aloha Tigers,
Visage,
Warsaw,
Joey Negro,
Yazoo,
Youth Brigade,
Smog,
The Busters,
Sister Nancy,
Robert Görl,
Depeche Mode,
Television,
World's Most,
The Fortunes,
Selector Dub Narcotic,
Reuben Wilson,
The Sisters of Mercy,
The Walker Brothers,
Pole,
The West Coast Pop Art Experimental Band,
UT,
Blossom Toes,
the Fania All-Stars,
Cabaret Voltaire,
Joyce Sims,
Bush Tetras,
Goldenarms,
Slave,
Television Personalities,
Gil Scott-Heron & Brian Jackson,
Marshall Jefferson,
The Victims,
Suicide,
Con Funk Shun,
Sonic Youth,
Major Organ And The Adding Machine,
Rod Modell,
Stiv Bators,
B.T. Express,
Scratch Acid,
Mantronix,
Barbara Tucker,
10cc,
These Immortal Souls,
Oppenheimer Analysis,
The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band.
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.