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 Congo and from Calgary.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Houston and Glasgow.
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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Au Pairs to the punk 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 Spandau Ballet. All the underground hits.
All The Move tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal dance 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 an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Evens record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Vaughan Mason & Crew,
DNA,
Gil Scott-Heron and Jamie xx,
Model 500,
The Gun Club,
Roxy Music,
Chrome,
FM Einheit,
X-101,
Kings Of Tomorrow,
Hoover,
Kool G Rap & DJ Polo,
Darondo,
Beasts of Bourbon,
The Blues Magoos,
Ajijia Myrayebe,
Spoonie Gee,
Jeff Mills,
Barry Ungar,
Eurythmics,
Sunsets and Hearts,
The Monks,
Altered Images,
the Association,
Chris & Cosey,
DJ Sneak,
Country Teasers,
Roxette,
Bobby Sherman,
The Mummies,
Das Ding,
Fear,
Lower 48,
Qualms,
The Gories,
Lakeside,
Eric B and Rakim,
Absolute Body Control,
The Residents,
Prince Buster,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Urselle,
Basic Channel,
The Fortunes,
Nik Kershaw,
Buzzcocks,
ABBA,
Thinking Fellers Union Local 282,
Eyeless In Gaza,
Janne Schatter,
The Happenings,
Blancmange,
David Axelrod,
Depeche Mode,
Stereo Dub,
Tubeway Army,
The Royal Family And The Poor,
Bobby Womack,
Warren Ellis,
Ludus,
Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade.
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.