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 Spain and from Stockholm.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in Bremen and Philadelphia.
I'm losing my edge to the art-school New York 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the spring reverb 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 Orchestral Manoeuvres in the Dark to the techno 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 Roy Ayers. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every the Normal record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Knickerbockers record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vainqueur,
Inner City,
The Music Machine,
DNA,
Black Bananas,
Gang Starr,
Röyhkä ja Rättö ja Lehtisalo,
Michelle Simonal,
FM Einheit,
The Knickerbockers,
Kings Of Tomorrow,
Joyce Sims,
Roy Ayers,
Magazine,
The Doors,
Schoolly D,
Nico,
Subhumans,
Mantronix,
Lou Christie,
Soulsonic Force,
Urselle,
Sugar Minott,
Skriet,
Peter and Kerry,
Ten City,
Todd Terry,
Isaac Hayes,
Eyeless In Gaza,
Aloha Tigers,
Q and Not U,
Desert Stars,
Kango’s Stein Massive,
Rahsaan Roland Kirk,
Juan Atkins,
The Durutti Column,
Panda Bear,
Warren Ellis,
The Detroit Cobras,
The Jesus and Mary Chain,
Stereo Dub,
Derrick Morgan,
The Invisible,
The Walker Brothers,
Wire,
Mad Mike,
Arab on Radar,
Vaughan Mason & Crew,
Red Lorry Yellow Lorry,
Amazonics,
Judy Mowatt,
The Pop Group,
Jerry Gold Smith,
Groovy Waters,
Ken Boothe,
De La Soul & Jungle Brothers,
Crash Course in Science,
Pole,
kango's stein massive,
The Wake,
The Raincoats,
Cabaret Voltaire,
Gong,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.