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 United States and from Tehran.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Seoul.
I'm losing my edge to the art-school Mexico City 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 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 Ossler to the disco kids.
I played it at the Troubador.
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 Average White Band. All the underground hits.
All Moebius tracks. I heard you have a vinyl of every The Golliwogs record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
The Modern Lovers,
Lungfish,
Severed Heads,
Anthony Braxton,
Monks,
Henry Cow,
Gil Scott Heron,
Fort Wilson Riot,
Avey Tare & Kría Brekkan,
Bush Tetras,
Judy Mowatt,
Lou Reed & Metallica,
Cheater Slicks,
Eric B and Rakim,
The Slackers,
The Doors,
Ultimate Spinach,
The Happenings,
Sight & Sound,
The Mighty Diamonds,
Maleditus Sound,
Grauzone,
The Alarm Clocks,
Quando Quango,
The Buckinghams,
Avey Tare's Slasher Flicks,
Half Japanese,
Robert Görl,
Sandy B,
Camberwell Now,
Joe Smooth,
Minutemen,
Lebanon Hanover,
The J.B.'s,
10cc,
Wighnomy Brothers & Robag Wruhme,
Nik Kershaw,
The Wake,
The Black Dice,
Larry & the Blue Notes,
Vaughan Mason & Crew,
Sam Rivers,
Robert Hood,
Kauko Röyhkä ja Narttu,
Blancmange,
The Blues Magoos,
ABBA,
The Sound,
Vainqueur,
Unwound,
A Flock of Seagulls,
Notorious BIG live in Amsterdam,
Nick Cave & The Bad Seeds,
Morten Harket,
Kings Of Tomorrow,
Model 500,
The Durutti Column,
Television,
Freddie Wadling,
Drive Like Jehu,
The American Breed,
Pierre Henry,
Kayak,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.