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 Tehran.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Houston and Manila.
I'm losing my edge to the art-school Manila 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Soft Cell to the rap 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 The American Breed. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every The Golliwogs 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
The Birthday Party,
Bobby Womack,
Glenn Branca,
Boogie Down Productions,
The Peanut Butter Conspiracy,
Second Layer,
Stetsasonic,
Derrick May,
The Sound,
Henry Cow,
The Black Dice,
Reuben Wilson,
Gil Scott-Heron and Jamie xx,
Terrestrial Tones,
Bluetip,
The Count Five,
Black Flag,
Harry Pussy,
Spandau Ballet,
K-Klass,
Frankie Knuckles,
Ossler,
Faraquet,
LL Cool J,
Brand Nubian,
Terry Callier,
Orchestral Manoeuvres in the Dark,
Stereo Dub,
Funkadelic,
The Seeds,
Sly & The Family Stone,
Can,
Crispy Ambulance,
Michelle Simonal,
Nirvana,
Goldenarms,
Alison Limerick,
Bobby Hutcherson,
The Techniques,
Juan Atkins,
The Shadows of Knight,
MDC,
Marine Girls,
Larry & the Blue Notes,
Trumans Water,
Agitation Free,
Traffic Nightmare,
Scion,
The Cramps,
Swell Maps,
DJ Style,
The Vogues,
Wasted Youth,
Grandmaster Flash and the Furious Five,
The Angels of Light,
Joe Smooth,
Ituana,
The Misunderstood,
Crash Course in Science,
Basic Channel,
Mad Mike,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.