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 Guinea and from Mexico City.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Shanghai.
I'm losing my edge to the art-school Tokyo 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 The Busters to the funk kids.
I played it at the 40 Watt.
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 Rapeman. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Sixth Finger record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Malaria! record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Wally Richardson,
Rites of Spring,
Camouflage,
Ronan,
E-Dancer,
Super Lover Cee & Casanova Rud,
Oppenheimer Analysis,
Eddi Front,
John Holt,
The Star Department,
The Sisters of Mercy,
The Young Rascals,
Soulsonic Force,
Sly & The Family Stone,
Country Teasers,
Justin Hinds & The Dominoes,
Pagans,
The American Breed,
Gang Gang Dance,
Angry Samoans,
Soft Machine,
DNA,
Archie Shepp,
the Association,
Colin Newman,
KRS-One,
Ultravox,
Black Pus,
Liaisons Dangereuses,
Popol Vuh,
Teenage Jesus and the Jerks,
Country Joe & The Fish,
Deakin,
Radiopuhelimet,
Monks,
Notorious Big And Bone Thugs,
Circle Jerks,
Frankie Knuckles,
The Associates,
John Foxx,
EPMD,
Maleditus Sound,
Toni Rubio,
Grauzone,
Au Pairs,
Grandmaster Flash and the Furious Five,
Ash Ra Tempel,
Ornette Coleman,
Gil Scott Heron,
Saccharine Trust,
Minutemen,
Electric Prunes,
Newcleus,
Letta Mbulu,
The Blues Magoos,
kango's stein massive,
Soft Cell,
New Order,
Cameo,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.