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 Oman and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in Calgary and Milan.
I'm losing my edge to the art-school Manila 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 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 Letta Mbulu to the punk kids.
I played it at the Hacienda.
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 Connie Case. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every Accadde A record on German import.
I heard that you have a white label of every seminal electroclash 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 linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tubeway Army,
Interpol,
Susan Cadogan,
Terrestrial Tones,
Eric Dolphy,
Josef K,
K-Klass,
Kaleidoscope,
Piero Umiliani,
Peter & Gordon,
Mantronix,
Kenny Larkin,
Juan Atkins,
Traffic Nightmare,
Grandmaster Flash,
Aaron Thompson,
Mark Hollis,
48th St. Collective,
Television Personalities,
Rhythim Is Rhythim,
Vaughan Mason & Crew,
the Soft Cell,
The Names,
Kerrie Biddell,
Teenage Jesus and the Jerks,
Scratch Acid,
This Heat,
Underground Resistance,
De La Soul & Jungle Brothers,
The Grass Roots,
Schoolly D,
Kas Product,
Eli Mardock,
Bill Wells,
Delon & Dalcan,
The Associates,
The Fall,
Guru Guru,
Faust,
Scientists,
Bronski Beat,
Marc Almond,
Ultramagnetic MC's,
Chris & Cosey,
Neil Young,
Jeff Mills,
Amon Düül II,
The Gap Band,
the Swans,
Smog,
EPMD,
DJ Style,
The Cure,
Gian Franco Pienzio,
Soulsonic Force,
The Wake,
Fugazi,
Porter Ricks,
Swell Maps,
The Seeds, The Seeds, The Seeds, The Seeds.
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.