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 Japan and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Lyon.
I'm losing my edge to the art-school Jakarta 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 rhodes 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 Scratch Acid to the jazz kids.
I played it at the Hacienda.
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 Khruangbin. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks 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 '80s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Swell Maps record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Raincoats,
James White and The Blacks,
Interpol,
Marshall Jefferson,
Johnny Osbourne,
Cabaret Voltaire,
Jeff Lynne,
The Fugs,
Radiopuhelimet,
Terrestrial Tones,
Supertramp,
Orchestral Manoeuvres in the Dark,
Adolescents,
Blossom Toes,
The Slackers,
Slave,
Tubeway Army,
Bootsy's Rubber Band,
Amon Düül II,
Zero Boys,
Matthew Halsall,
Erasure,
John Holt,
Public Image Ltd.,
Altered Images,
The Doobie Brothers,
Grandmaster Flash,
Archie Shepp,
ABC,
The Move,
Pulsallama,
Janne Schatter,
Bush Tetras,
Kenny Larkin,
Major Organ And The Adding Machine,
Robert Hood,
JFA,
Albert Ayler,
X-Ray Spex,
Scion,
Inner City,
Ultravox,
Siouxsie and the Banshees,
Faust,
Dual Sessions,
Rhythim Is Rhythim,
Captain Beefheart & His Magic Band,
The Zeros,
Pharaoh Sanders and the Fire Engines,
Con Funk Shun,
Kings Of Tomorrow,
Gang of Four,
Notorious BIG live in Amsterdam,
Alice Coltrane,
AZ,
Drexciya,
Eric Copeland,
Half Japanese,
Talk Talk,
Charles Mingus,
Fad Gadget,
Yazoo, Yazoo, Yazoo, Yazoo.
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.