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 Tunisia and from Johannesburg.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1977.
I'm losing my edge.
To all the kids in Manila and Salvador.
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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Underground Resistance to the dance 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 The Peanut Butter Conspiracy. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every Derrick May 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 '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Frankie Knuckles record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Niagra,
Sister Nancy,
Ash Ra Tempel,
Prince Buster,
Gang Green,
New York Dolls,
Scott Walker,
Tim Buckley,
Gang Starr,
E-Dancer,
Cymande,
The Jesus and Mary Chain,
Country Teasers,
Minutemen,
Michelle Simonal,
Gichy Dan,
Janne Schatter,
Stereo Dub,
Alphaville,
Eli Mardock,
the Swans,
Red Lorry Yellow Lorry,
Derrick Morgan,
Derrick May,
The Martian,
X-Ray Spex,
Smog,
Dawn Penn,
Ken Boothe,
Hardrive,
Faraquet,
Roxy Music,
The Barracudas,
The Gories,
Adolescents,
Spandau Ballet,
Scientists,
The Dirtbombs,
Godley & Creme,
Rapeman,
Electric Light Orchestra,
kango's stein massive,
Glambeats Corp.,
The Count Five,
Sparks,
Eurythmics,
Intrusion,
Soft Machine,
Ultra Naté,
David Axelrod,
Bill Near,
The Kinks,
Soulsonic Force,
Sunsets and Hearts,
The Index,
Eric Copeland,
Hot Snakes,
The Saints,
The Gladiators,
Rod Modell,
DJ Sneak,
Crime, Crime, Crime, Crime.
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.