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 Djibouti and from Edmonton.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1979.
I'm losing my edge.
To all the kids in Lagos and Salvador.
I'm losing my edge to the art-school Portland 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 guitar sounds with much patience.
I was there when Robert Palmer 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 Ultra Naté to the dance kids.
I played it at the Hacienda.
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 Urselle. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every The Smiths record on German import.
I heard that you have a white label of every seminal rap 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 spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swans,
Saccharine Trust,
Groovy Waters,
Scion,
Lalo Schifrin,
Big Daddy Kane,
Boz Scaggs,
Reagan Youth,
Roy Ayers Ubiquity,
Jimmy McGriff,
Matthew Bourne,
Suicide,
Basic Channel,
CMW,
Junior Murvin,
Rakim,
UT,
Unwound,
The Doobie Brothers,
Be Bop Deluxe,
Dennis Brown,
Whodini,
Tropical Tobacco,
Notorious BIG live in Amsterdam,
Severed Heads,
Nik Kershaw,
Terry Callier,
Orchestral Manoeuvres in the Dark,
Gerry Rafferty,
Stereo Dub,
The Zeros,
Vladislav Delay,
Deutsch Amerikanische Freundschaft,
Bang on a Can All-Stars,
Ultimate Spinach,
U.S. Maple,
Cluster,
Kauko Röyhkä ja Narttu,
Chris Corsano,
Accadde A,
Kool Moe Dee,
Danielle Patucci,
La Düsseldorf,
Adolescents,
Bang On A Can,
The Seeds,
Bobby Hutcherson,
Motorama,
The Angels of Light,
Isaac Hayes,
Lyres,
Infiniti,
The Residents,
Cheater Slicks,
Boredoms,
Crooked Eye,
Half Japanese,
Rahsaan Roland Kirk,
The Gun Club,
Lindisfarne,
Make Up,
Joensuu 1685, Joensuu 1685, Joensuu 1685, Joensuu 1685.
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.