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 Brunei and from New York.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Milan.
I'm losing my edge to the art-school Lyon 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 Captain Beefheart 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 Popol Vuh to the disco 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 Gang Gang Dance. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a New Order record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Yazoo,
Masters at Work,
Faraquet,
Bill Wells,
The Litter,
Inner City,
The New Christs,
Severed Heads,
Eurythmics,
Hashim,
Sam Rivers,
Pere Ubu,
The Young Rascals,
The Gladiators,
The Shadows of Knight,
Siglo XX,
Dawn Penn,
Man Parrish,
John Cale,
Magma,
Supertramp,
Pet Shop Boys,
Anakelly,
Drive Like Jehu,
H. Thieme,
Gang Starr,
Hardrive,
David McCallum,
T. Rex,
Angry Samoans,
Morten Harket,
Visionaries,LMNO, T- Love & Iriscience,
Lalann,
Animal Collective,
Electric Prunes,
One Last Wish,
Metal Thangz,
The Mojo Men,
The Vogues,
Soul II Soul,
Lyres,
Pussy Galore,
Kings Of Tomorrow,
ABC,
Scientists,
Delon & Dalcan,
The Black Dice,
Nick Fraelich,
The Jesus and Mary Chain,
Howard Jones,
The Sonics,
Traffic Nightmare,
Dual Sessions,
Judy Mowatt,
the Swans,
Niagra,
Model 500,
The Busters,
Sällskapet,
The Smoke,
Intrusion,
Danielle Patucci,
The Selecter, The Selecter, The Selecter, The Selecter.
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.