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 Sierra Leone and from Paris.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Cairo.
I'm losing my edge to the art-school Woodstock 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 The Gladiators to the techno kids.
I played it at the Astoria.
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 Ornette Coleman. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every LL Cool J 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 '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Radio Birdman record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dave Gahan,
Pierre Henry,
Black Flag,
Vaughan Mason & Crew,
John Foxx,
Darondo,
Marine Girls,
Bobby Womack,
Warsaw,
Wolf Eyes,
Be Bop Deluxe,
Angry Samoans,
Sam Rivers,
Danielle Patucci,
Ituana,
Todd Terry,
The Modern Lovers,
Eve St. Jones,
Oppenheimer Analysis,
Motorama,
Archie Shepp,
Bronski Beat,
Dorothy Ashby,
Slave,
Man Eating Sloth,
Radiohead,
The Trojans,
Orchestral Manoeuvres in the Dark,
Maurizio,
Gastr Del Sol,
Eurythmics,
The Last Poets,
Pet Shop Boys,
Terry Callier,
Bobby Byrd,
Whodini,
Angels of Light & Akron/Family,
Echospace,
Derrick Morgan,
Girls At Our Best!,
Strawberry Alarm Clock,
the Bar-Kays,
the Germs,
Bootsy's Rubber Band,
Section 25,
Bluetip,
E-Dancer,
Blancmange,
Gabor Szabo,
Marshall Jefferson,
the Normal,
Monolake,
Japan,
Audionom,
Lee Hazlewood,
Connie Case,
Basic Channel,
Thompson Twins,
The Flesh Eaters, The Flesh Eaters, The Flesh Eaters, The Flesh Eaters.
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.