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 Iceland and from Delhi.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Tehran and Accra.
I'm losing my edge to the art-school Glasgow 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 guitar sounds with much patience.
I was there when Lou Reed 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 Jerry's Kids to the electroclash 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 Arthur Verocai. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Golliwogs 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?
Kings Of Tomorrow,
Masters at Work,
Circle Jerks,
The Gap Band,
DJ Sneak,
Pete Rock & C.L. Smooth,
New Age Steppers,
kango's stein massive,
The Wake,
Minor Threat,
X-Ray Spex,
Lee Hazlewood,
Rosa Yemen,
Freddie Wadling,
The Leaves,
Donald Byrd,
Richard Hell and the Voidoids,
Godley & Creme,
The Victims,
The Searchers,
Soul Sonic Force,
Sexual Harrassment,
The Vogues,
Leonard Cohen,
ABBA,
Con Funk Shun,
Rotary Connection,
Andrew Hill,
Saccharine Trust,
Tom Boy,
UT,
Das Ding,
H. Thieme,
Siglo XX,
X-101,
Faraquet,
Parry Music,
Barclay James Harvest,
CMW,
Jawbox,
Bobby Womack,
Barrington Levy,
Thompson Twins,
Rhythm & Sound,
La Düsseldorf,
Cluster,
The Black Dice,
the Human League,
Stockholm Monsters,
Bootsy's Rubber Band,
The Mummies,
The Monks,
Larry & the Blue Notes,
Easy Going,
The Martian,
Anakelly,
Camron Feat. Memphis Bleek And Beenie Seigel,
Negative Approach,
Amon Düül,
Ash Ra Tempel,
Bronski Beat,
Letta Mbulu,
Morten Harket,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.