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 Albania and from London.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Tehran and Milan.
I'm losing my edge to the art-school Toronto 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 theremin sounds with much patience.
I was there when Lou Reed 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 Ajijia Myrayebe to the rap kids.
I played it at the Spitz.
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 Youth Brigade. All the underground hits.
All Gong tracks. I heard you have a vinyl of every The Flesh Eaters 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Mary Jane Girls,
Marmalade,
T.S.O.L.,
Echo & the Bunnymen,
Peter and Kerry,
Panda Bear,
Stockholm Monsters,
Iggy Pop,
Bobby Hutcherson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Black Pus,
KRS-One,
Tomorrow,
A Certain Ratio,
The Young Rascals,
Notorious BIG live in Amsterdam,
The Techniques,
Rowland S Howard / Lydia Lunch,
Sad Lovers and Giants,
Arab on Radar,
Neil Young & Crazy Horse,
The Vogues,
Main Source,
Japan,
The Tremeloes,
Neil Young,
Television,
Audionom,
JFA,
Royal Trux,
Slave,
The Trojans,
Deutsch Amerikanische Freundschaft,
Spandau Ballet,
World's Most,
Pharoah Sanders,
James Chance & The Contortions,
Lou Reed & John Cale,
Susan Cadogan,
Bronski Beat,
DJ Sneak,
Tim Buckley,
Metal Thangz,
the Fania All-Stars,
Deepchord,
Kango’s Stein Massive,
Judy Mowatt,
Aaron Thompson,
Juan Atkins,
Monks,
The Names,
Oppenheimer Analysis,
Jesper Dahlback,
Von Mondo,
Avey Tare,
Kurtis Blow,
Au Pairs,
Morten Harket,
cv313,
Gang Gang Dance,
Dawn Penn,
The Pop Group,
Quantec, Quantec, Quantec, Quantec.
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.