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 Grenada and from Accra.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Shanghai.
I'm losing my edge to the art-school Bremen 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 Holger Czukay 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 Jacques Brel to the grime kids.
I played it at Cafe Wha.
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 The Doobie Brothers. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every Ultramagnetic MC's record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
Kerri Chandler,
Kayak,
Lonnie Liston Smith,
Andrew Ashong & Theo Parrish,
Strawberry Alarm Clock,
Bobby Hutcherson,
The Smiths,
Bootsy Collins,
Lizzy Mercier Descloux,
Country Teasers,
Scott Walker + Sunn O))),
Sam Rivers,
Scrapy,
Urselle,
Dennis Brown,
Stereo Dub,
Pussy Galore,
Sun Ra Arkestra,
Talk Talk,
Bob Dylan,
Lee Hazlewood,
Barry Ungar,
Ponytail,
Quando Quango,
John Foxx,
Susan Cadogan,
Dual Sessions,
Gregory Isaacs,
Flipper,
Piero Umiliani,
Soulsonic Force,
Larry & the Blue Notes,
the Normal,
Arcadia,
Eddi Front,
David Bowie,
Alphaville,
Joey Negro,
The Grass Roots,
The Divine Comedy,
Dorothy Ashby,
Hasil Adkins,
Bootsy's Rubber Band,
Cabaret Voltaire,
Lyres,
10cc,
Rekid,
Niagra,
Vainqueur,
Procol Harum,
Interpol,
Davy DMX,
Joe Smooth,
Stockholm Monsters,
Harpers Bizarre,
Crime,
the Germs,
Kenny Larkin,
Aswad, Aswad, Aswad, Aswad.
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.