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 Uzbekistan and from Portland.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Winnipeg and Seoul.
I'm losing my edge to the art-school Milan 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 linndrum 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 Fatback Band to the jazz kids.
I played it at the Roxy.
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 Mandrill. All the underground hits.
All Country Teasers tracks. I heard you have a vinyl of every Arthur Verocai 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
Q65,
Magma,
Orchestral Manoeuvres in the Dark,
Liaisons Dangereuses,
Shoche,
Eden Ahbez,
Liliput,
Arab on Radar,
Bluetip,
Swell Maps,
Soft Machine,
Gastr Del Sol,
Bronski Beat,
Bobby Sherman,
Joe Finger,
Jeff Mills,
Scrapy,
Throbbing Gristle,
the Swans,
Dual Sessions,
Monks,
Ituana,
The Golliwogs,
Porter Ricks,
LL Cool J,
Livin' Joy,
U.S. Maple,
MDC,
Bill Near,
Joe Smooth,
Vainqueur,
The Moody Blues,
Teenage Jesus and the Jerks,
Thompson Twins,
Girls At Our Best!,
The Chocolate Watch Band,
Theoretical Girls,
Rahsaan Roland Kirk,
Tubeway Army,
The Mummies,
Matthew Bourne,
Stiv Bators,
Camberwell Now,
Japan,
The Move,
Jerry Gold Smith,
ABBA,
Yaz,
Flipper,
Eli Mardock,
Popol Vuh,
the Germs,
Ralphi Rosario,
Sarah Menescal,
Charles Mingus,
June Days,
The Raincoats,
Avey Tare's Slasher Flicks,
Notorious BIG live in Amsterdam,
Johnny Clarke,
FM Einheit,
Danielle Patucci,
Can, Can, Can, Can.
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.