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 East Timor and from Seoul.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1963 to 1975.
I'm losing my edge.
To all the kids in Milan and Johannesburg.
I'm losing my edge to the art-school Stockholm 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Matthew Halsall to the electroclash 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 Blake Baxter. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Das Ding 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Human League record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
Dark Day,
Sarah Menescal,
Piero Umiliani,
Easy Going,
Manfred Mann's Earth Band,
Jeff Lynne,
Soul Sonic Force,
Icehouse,
Animal Collective,
Nas,
Khruangbin,
Duran Duran,
The Neon Judgement,
Yusef Lateef,
The Moleskins,
Stiv Bators,
Eve St. Jones,
MC5,
Agent Orange,
Jandek,
Leonard Cohen,
Sun Ra,
Gil Scott-Heron & Brian Jackson,
Grandmaster Flash and the Furious Five,
Thompson Twins,
Brothers Johnson,
Aaron Thompson,
Sixth Finger,
The Zeros,
The Monochrome Set,
Brand Nubian,
X-101,
It's A Beautiful Day,
The Peanut Butter Conspiracy,
The Tremeloes,
Röyhkä ja Rättö ja Lehtisalo,
Beasts of Bourbon,
Mo-Dettes,
The Modern Lovers,
Roy Ayers,
Derrick Morgan,
Negative Approach,
June Days,
The Cramps,
The Walker Brothers,
Second Layer,
Kool G Rap & DJ Polo,
Throbbing Gristle,
Drexciya,
The Toasters,
Frankie Knuckles,
Lou Reed,
James Chance & The Contortions,
Ossler,
Young Marble Giants,
The Doobie Brothers,
the Human League,
Boz Scaggs,
Tommy Roe,
L. Decosne,
Interpol, Interpol, Interpol, Interpol.
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.