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 Peru and from London.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Tehran and Mumbai.
I'm losing my edge to the art-school Tokyo 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 1968 at the first Can practice in a loft in Cologne.
I was working on the organ sounds with much patience.
I was there when Nile Rodgers 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 Jerry Gold Smith to the techno 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 Alton Ellis. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Marshall Jefferson,
Electric Light Orchestra,
Mad Mike,
Joensuu 1685,
Lower 48,
the Sonics,
R.M.O.,
Orchestral Manoeuvres in the Dark,
Sandy B,
Mark Hollis,
Gichy Dan,
Idris Muhammad,
The Golliwogs,
Colin Newman,
World's Most,
Moebius,
Erasure,
D'Angelo,
Davy DMX,
Lebanon Hanover,
The Techniques,
David McCallum,
Angry Samoans,
Rowland S Howard / Lydia Lunch,
Camron Feat. Memphis Bleek And Beenie Seigel,
Liaisons Dangereuses,
Rekid,
Liliput,
Negative Approach,
Intrusion,
U.S. Maple,
Talk Talk,
Khruangbin,
Oblivians,
Lightning Bolt,
The Pop Group,
Tears for Fears,
It's A Beautiful Day,
Teenage Jesus and the Jerks,
Eric B and Rakim,
Eden Ahbez,
Flash Fearless,
Freddie Wadling,
The Durutti Column,
Traffic Nightmare,
Zapp,
Suicide,
The Misunderstood,
Scrapy,
The Busters,
The Cramps,
Kool G Rap & DJ Polo,
Röyhkä ja Rättö ja Lehtisalo,
N.O.R.E. Featuring Pharrell,
Fifty Foot Hose,
One Last Wish,
Lou Reed & John Cale,
Juan Atkins,
Crime,
Franke,
Youth Brigade, Youth Brigade, Youth Brigade, Youth Brigade.
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.