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 Pakistan and from Houston.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1974.
I'm losing my edge.
To all the kids in Manila and Columbus.
I'm losing my edge to the art-school Houston 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Ronan to the funk 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 Liaisons Dangereuses. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Dr. Dre and Snoop Doggy Dog 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 '70s cut and another box set from the '80s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Ronnie Foster,
The West Coast Pop Art Experimental Band,
Tears for Fears,
David Axelrod,
A Flock of Seagulls,
The Durutti Column,
The Offenders,
Sunsets and Hearts,
Bush Tetras,
Kauko Röyhkä ja Narttu,
Mantronix,
The Cowsills,
Crispian St. Peters,
Oneida,
Porter Ricks,
Brass Construction,
Röyhkä ja Rättö ja Lehtisalo,
Ultra Naté,
Bill Near,
Glambeats Corp.,
Marmalade,
Au Pairs,
The Fortunes,
Anakelly,
Dave Gahan,
Jesper Dahlbäck,
Eddi Front,
Audionom,
Goldenarms,
Black Flag,
Lalann,
U.S. Maple,
Depeche Mode,
Slick Rick,
Blossom Toes,
Idris Muhammad,
The Move,
Sister Nancy,
the Germs,
Cymande,
Outsiders,
Roy Ayers,
CMW,
10cc,
ABBA,
the Swans,
Freddie Wadling,
Albert Ayler,
Scott Walker + Sunn O))),
Theoretical Girls,
The Velvet Underground,
Drexciya,
Bootsy Collins,
Q65,
Bobby Byrd,
Archie Shepp,
Thee Headcoats,
Nils Olav,
Andrew Hill,
Hoover,
Warren Ellis,
Sam Rivers,
Gang Gang Dance, Gang Gang Dance, Gang Gang Dance, Gang Gang Dance.
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.