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 Portland.
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 1964 to 1977.
I'm losing my edge.
To all the kids in New York and Woodstock.
I'm losing my edge to the art-school Stockholm 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 Thompson Twins to the funk kids.
I played it at Cafe Wha.
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 Zapp. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Black Sheep record on German import.
I heard that you have a white label of every seminal dance 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 rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
Cheater Slicks,
Yusef Lateef,
The Smoke,
Brothers Johnson,
Pulsallama,
Nick Fraelich,
The Black Dice,
The Cosmic Jokers,
Theoretical Girls,
Fort Wilson Riot,
a-ha,
Fluxion,
The Cowsills,
Man Parrish,
Bauhaus,
Dennis Brown,
Lalo Schifrin,
Index,
Thee Headcoats,
Agitation Free,
Nik Kershaw,
Amazonics,
Gerry Rafferty,
the Swans,
Teenage Jesus and the Jerks,
La Düsseldorf,
Cameo,
L. Decosne,
The Fortunes,
Ludus,
Alphaville,
Parry Music,
the Germs,
Lightning Bolt,
Isaac Hayes,
Massinfluence,
Lyres,
The Moleskins,
Yaz,
Gang Starr,
Bronski Beat,
Dorothy Ashby,
Lizzy Mercier Descloux,
Al Stewart,
Donny Hathaway,
The Motions,
Gong,
Scientists,
The Names,
Albert Ayler,
Sad Lovers and Giants,
Liliput,
Masters at Work,
The Royal Family And The Poor,
The Angels of Light,
Q and Not U,
Delon & Dalcan,
Jerry's Kids,
Cabaret Voltaire,
Boredoms, Boredoms, Boredoms, Boredoms.
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.