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 Bahrain and from Tokyo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1967 to 1971.
I'm losing my edge.
To all the kids in Halifax and Lyon.
I'm losing my edge to the art-school Philadelphia 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 sitar sounds with much patience.
I was there when Holger Czukay 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 Pantaleimon to the dance kids.
I played it at the Spitz.
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 Selecter. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every Rotary Connection record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a F. McDonald record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
Cybotron,
Orchestral Manoeuvres in the Dark,
Prince Buster,
Kango’s Stein Massive,
The Modern Lovers,
Country Joe & The Fish,
Danielle Patucci,
Judy Mowatt,
LL Cool J,
The Slackers,
Absolute Body Control,
Procol Harum,
Henry Cow,
Jerry Gold Smith,
Faust,
Lalann,
Chris Corsano,
The Cramps,
Art Ensemble Of Chicago,
Bronski Beat,
London Community Gospel Choir,
Blake Baxter,
DNA,
The Smoke,
Sonny Sharrock,
Pierre Henry,
Franke,
Sun Ra,
Janne Schatter,
The Searchers,
Gil Scott-Heron & Brian Jackson,
Bobby Hutcherson,
David McCallum,
Warren Ellis,
Marcia Griffiths,
The Walker Brothers,
Buzzcocks,
Basic Channel,
Hasil Adkins,
The Kinks,
Slave,
Ice-T,
Kurtis Blow,
Terry Callier,
Moss Icon,
Harry Pussy,
Jesper Dahlback,
the Fania All-Stars,
The Fortunes,
The Cowsills,
Sarah Menescal,
Sly & The Family Stone,
Brass Construction,
John Coltrane,
Unwound,
Bauhaus,
Nick Fraelich,
Joe Finger,
The Blackbyrds,
New Order, New Order, New Order, New Order.
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.