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 Cameroon and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Accra and Shanghai.
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 Selda practice in a loft in Istanbul.
I was working on the 808 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 Thompson Twins to the techno kids.
I played it at the Astoria.
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 Monolake. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Electric Prunes record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
The Martian,
The Fall,
T.S.O.L.,
Soft Cell,
Marc Almond,
Rosa Yemen,
Sly & The Family Stone,
The Royal Family And The Poor,
Groovy Waters,
The Selecter,
The Men They Couldn't Hang,
Model 500,
Echo & the Bunnymen,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Durutti Column,
Audionom,
Supertramp,
Hasil Adkins,
Fluxion,
Joy Division,
Arthur Verocai,
Super Lover Cee & Casanova Rud,
Rahsaan Roland Kirk,
Tubeway Army,
Patti Smith,
Franke,
The Red Krayola,
The Fortunes,
Robert Hood,
Amon Düül II,
Louis and Bebe Barron,
The Residents,
The Fire Engines,
Soulsonic Force,
Siglo XX,
Icehouse,
Amazonics,
DJ Style,
Skarface,
The Real Kids,
Make Up,
Ossler,
CMW,
The Tremeloes,
B.T. Express,
Sound Behaviour,
Sonic Youth,
Faust,
Throbbing Gristle,
Lyres,
Jerry's Kids,
The Vogues,
Aloha Tigers,
Pantytec,
James White and The Blacks,
The Skatalites,
MC5,
Yaz,
LL Cool J,
The Cure,
Cameo,
Cecil Taylor,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.