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 El Salvador and from Houston.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 Toronto and Beijing.
I'm losing my edge to the art-school Salvador 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Cymande to the punk 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 The Barracudas. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every Bang on a Can All-Stars 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Pole,
X-102,
The Five Americans,
Scott Walker,
June of 44,
Depeche Mode,
The Real Kids,
The Offenders,
The Doobie Brothers,
Lalo Schifrin,
The Knickerbockers,
The United States of America,
The Slits,
Q and Not U,
Patti Smith,
The Residents,
Young Marble Giants,
The Jesus and Mary Chain,
Procol Harum,
Man Eating Sloth,
The Searchers,
Fluxion,
It's A Beautiful Day,
Crime,
Sly & The Family Stone,
Ten City,
Bobby Womack,
Morten Harket,
Derrick May,
Liaisons Dangereuses,
Terror Squad Feat. Camron,
Lyres,
Trumans Water,
Avey Tare,
a-ha,
Pylon,
The Martian,
Masters at Work,
Minny Pops,
Thee Headcoats,
Dual Sessions,
The Tremeloes,
Graham Central Station,
Pere Ubu,
Nik Kershaw,
Visage,
Mad Mike,
Joey Negro,
Danielle Patucci,
Alton Ellis,
The Doors,
The Shadows of Knight,
Nico,
Manfred Mann's Earth Band,
Richard Hell and the Voidoids,
Althea and Donna,
Arthur Verocai,
Archie Shepp,
Bill Near,
H. Thieme, H. Thieme, H. Thieme, H. Thieme.
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.