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 Swaziland and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Taipei and Toronto.
I'm losing my edge to the art-school Beijing 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 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 Drexciya to the electroclash 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 Make Up. All the underground hits.
All The Invisible tracks. I heard you have a vinyl of every Arab on Radar record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
Rites of Spring,
Be Bop Deluxe,
Rhythim Is Rhythim,
The Pretty Things,
Bluetip,
Cabaret Voltaire,
Red Lorry Yellow Lorry,
Mary Jane Girls,
Avey Tare & Kría Brekkan,
Lalann,
Loose Ends,
Bill Wells,
Ajijia Myrayebe,
Marmalade,
Sex Pistols,
Pierre Henry,
Manfred Mann's Earth Band,
Sarah Menescal,
Interpol,
Franke,
The Sonics,
Morten Harket,
Yellowson,
Lebanon Hanover,
PIL,
Fatback Band,
The Golliwogs,
Goldenarms,
Eric Copeland,
Motorama,
The Dirtbombs,
The Real Kids,
Shoche,
Sparks,
Scratch Acid,
The Fugs,
Joe Smooth,
Rakim,
Ludus,
David Axelrod,
Gil Scott-Heron & Brian Jackson,
Neil Young,
Nation of Ulysses,
Lindisfarne,
Prince Buster,
Angels of Light & Akron/Family,
Selector Dub Narcotic,
Spandau Ballet,
Todd Terry,
Yusef Lateef,
Absolute Body Control,
Sixth Finger,
Sun Ra,
Circle Jerks,
The Zeros,
Juan Atkins,
Bauhaus,
Jeff Mills,
Eurythmics,
Toni Rubio, Toni Rubio, Toni Rubio, Toni Rubio.
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.