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 Dominica and from Mexico City.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Seoul and Woodstock.
I'm losing my edge to the art-school Houston 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 arpeggiator 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 The American Breed to the electroclash kids.
I played it at the Troubador.
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 Standells. All the underground hits.
All Chris & Cosey tracks. I heard you have a vinyl of every Quando Quango record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
China Crisis,
Cal Tjader,
Gary Puckett & The Union Gap,
The Sisters of Mercy,
Jesper Dahlbäck,
Alison Limerick,
Barry Ungar,
Crispian St. Peters,
Basic Channel,
Bobby Sherman,
The Walker Brothers,
Gil Scott-Heron and Jamie xx,
Sly & The Family Stone,
Deakin,
The New Christs,
The Real Kids,
The Detroit Cobras,
Andrew Ashong & Theo Parrish,
Pylon,
La Düsseldorf,
Ossler,
Spoonie Gee,
The Misunderstood,
It's A Beautiful Day,
Matthew Halsall,
Massinfluence,
Youth Brigade,
Au Pairs,
Faust,
Mo-Dettes,
Hot Snakes,
The Doors,
Chris Corsano,
Lakeside,
Fear,
Minutemen,
Cameo,
The Last Poets,
The Durutti Column,
The West Coast Pop Art Experimental Band,
Banda Bassotti,
Mandrill,
Roger Hodgson,
Quadrant,
Patti Smith,
Loose Ends,
Monolake,
Dave Gahan,
Sandy B,
Spandau Ballet,
Eurythmics,
the Sonics,
the Fania All-Stars,
Outsiders,
ABBA,
Jesper Dahlback,
Sex Pistols,
Ash Ra Tempel,
The Golliwogs,
Godley & Creme,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.