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 Mauritania and from Glasgow.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Sao Paulo.
I'm losing my edge to the art-school Johannesburg 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 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 Bauhaus to the punk kids.
I played it at CBGB's.
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 Can. All the underground hits.
All Rowland S Howard / Lydia Lunch tracks. I heard you have a vinyl of every Second Layer 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 '80s cut and another box set from the '80s.
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 Subhumans record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
The Golliwogs,
Kerrie Biddell,
a-ha,
The Searchers,
Japan,
Gabor Szabo,
Hoover,
Reagan Youth,
Deutsch Amerikanische Freundschaft,
Gang Gang Dance,
Fat Boys,
Agent Orange,
Johnny Clarke,
Harmonia,
Arthur Verocai,
Magma,
Aswad,
Matthew Halsall,
Boz Scaggs,
Ralphi Rosario,
Eli Mardock,
Lebanon Hanover,
the Bar-Kays,
Skaos,
Funkadelic,
Joe Smooth,
Letta Mbulu,
The Dead C,
The Dirtbombs,
Janne Schatter,
Alphaville,
Richard Hell and the Voidoids,
Sad Lovers and Giants,
Bauhaus,
The Move,
Aloha Tigers,
T. Rex,
Bang On A Can,
Section 25,
Visionaries,LMNO, T- Love & Iriscience,
Crash Course in Science,
Connie Case,
Grey Daturas,
Larry & the Blue Notes,
Delta 5,
Rhythim Is Rhythim,
The Men They Couldn't Hang,
Warren Ellis,
Morten Harket,
Anakelly,
Anthony Braxton,
The Music Machine,
Glambeats Corp.,
Black Pus,
Buzzcocks,
Shuggie Otis,
Chris & Cosey,
The Litter,
Stockholm Monsters,
The Martian, The Martian, The Martian, The Martian.
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.