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 Bolivia and from Madrid.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Paris and Hong Kong.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the chamberlin 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 Grandmaster Flash and the Furious Five to the disco kids.
I played it at the Roxy.
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 World's Most. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Drive Like Jehu record on German import.
I heard that you have a white label of every seminal dance 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 theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your guitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Alphaville,
Rhythm & Sound,
The Golliwogs,
Deutsch Amerikanische Freundschaft,
Buzzcocks,
Big Daddy Kane,
Alison Limerick,
Tropical Tobacco,
Johnny Clarke,
Radio Birdman,
Eden Ahbez,
Art Ensemble Of Chicago,
Lalann,
Rahsaan Roland Kirk,
Monks,
Thompson Twins,
Circle Jerks,
Red Lorry Yellow Lorry,
Girls At Our Best!,
Deadbeat,
Essential Logic,
Barbara Tucker,
8 Eyed Spy,
Suicide,
ABBA,
Chrome,
Jandek,
Symarip,
Stetsasonic,
Dorothy Ashby,
Audionom,
Sparks,
Dennis Brown,
Dave Gahan,
The Men They Couldn't Hang,
Brand Nubian,
Bobby Hutcherson,
Fad Gadget,
Mandrill,
Alice Coltrane,
Cecil Taylor,
Massinfluence,
Kool G Rap & DJ Polo,
Donny Hathaway,
Dr. Dre and Snoop Doggy Dog,
Eli Mardock,
Boogie Down Productions,
Chris & Cosey,
Pantytec,
Neil Young & Crazy Horse,
Tommy Roe,
Kas Product,
Pantaleimon,
Kurtis Blow,
Mr. Review,
Quantec,
Funkadelic,
Yellowson,
Interpol,
Loose Ends,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.