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 Finland and from Mexico City.
But I was there.
I was there in 1973.
I was there at the first Television 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 1963 to 1973.
I'm losing my edge.
To all the kids in Milan and Houston.
I'm losing my edge to the art-school Woodstock 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 chamberlin 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 Carl Craig to the grime kids.
I played it at the Hacienda.
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 the Slits. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Zeros,
Gong,
The Victims,
Groovy Waters,
Kenny Larkin,
Pharaoh Sanders and the Fire Engines,
The Leaves,
Little Man,
The Sisters of Mercy,
Basic Channel,
Avey Tare's Slasher Flicks,
China Crisis,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ludus,
Angry Samoans,
Von Mondo,
A Certain Ratio,
Bang on a Can All-Stars,
Monks,
Shoche,
Pole,
Pierre Henry,
New Age Steppers,
The Star Department,
The Techniques,
The Monks,
Eli Mardock,
Ultra Naté,
B.T. Express,
Can,
Pere Ubu,
Eden Ahbez,
Terrestrial Tones,
The Durutti Column,
The Gories,
Aloha Tigers,
Desert Stars,
Notorious BIG live in Amsterdam,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
A Flock of Seagulls,
Sonic Youth,
Y Pants,
The Wake,
Boz Scaggs,
Sam Rivers,
The Count Five,
Bluetip,
The Flesh Eaters,
Technova,
Danielle Patucci,
Jeff Mills,
Wolf Eyes,
Tubeway Army,
Steve Hackett,
Juan Atkins,
Slick Rick,
Minny Pops,
Mission of Burma,
Eric Copeland,
Aswad,
Cheater Slicks,
Deepchord, Deepchord, Deepchord, Deepchord.
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.