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 Comoros and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Lille and Mexico City.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 Sad Lovers and Giants to the techno 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 Pierre Henry. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every Parry Music record on German import.
I heard that you have a white label of every seminal grime 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 rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your güiro and bought a sitar.
I hear that you and your band have sold your sitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
Siouxsie and the Banshees,
The Move,
Danielle Patucci,
Trumans Water,
The Cosmic Jokers,
Gil Scott-Heron and Jamie xx,
Pagans,
Kool Moe Dee,
Reuben Wilson,
Gregory Isaacs,
The Associates,
Althea and Donna,
New Age Steppers,
Fatback Band,
Jerry Gold Smith,
Barrington Levy,
Yazoo,
Pantytec,
Crispian St. Peters,
The Mighty Diamonds,
Crash Course in Science,
Don Cherry,
Lizzy Mercier Descloux,
Public Enemy,
The Blues Magoos,
Nick Fraelich,
Black Sheep,
Teenage Jesus and the Jerks,
John Lydon,
Echo & the Bunnymen,
L. Decosne,
Quadrant,
Rekid,
Barry Ungar,
Hasil Adkins,
Scan 7,
Morten Harket,
The Selecter,
Qualms,
The Human League,
Major Organ And The Adding Machine,
LL Cool J,
Drexciya,
8 Eyed Spy,
The Fire Engines,
Henry Cow,
Masters at Work,
Blake Baxter,
Sound Behaviour,
Jawbox,
Lalann,
Bronski Beat,
Fluxion,
Bad Manners,
Gang Starr,
Ultramagnetic MC's,
Liaisons Dangereuses,
Mr. Review,
the Normal,
The Detroit Cobras,
Anthony Braxton,
Bang On A Can,
The Knickerbockers,
The Angels of Light, The Angels of Light, The Angels of Light, The Angels of Light.
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.