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 Norway and from Manila.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Spokane.
I'm losing my edge to the art-school Lille 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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Ultra Naté to the electroclash 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 Wings. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Anakelly record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Mantronix,
A Certain Ratio,
Sixth Finger,
Deakin,
Gil Scott-Heron & Brian Jackson,
The Human League,
Ralphi Rosario,
Bizarre Inc.,
Warsaw,
Yellowson,
Blancmange,
Cymande,
Fat Boys,
Pylon,
Chrome,
Kurtis Blow,
Strawberry Alarm Clock,
The Fire Engines,
Peter and Kerry,
Groovy Waters,
Rod Modell,
Matthew Bourne,
Throbbing Gristle,
Gian Franco Pienzio,
Minny Pops,
The Cowsills,
Boogie Down Productions,
Hasil Adkins,
OOIOO,
Cheater Slicks,
Don Cherry,
New Order,
Dual Sessions,
Soul II Soul,
Anakelly,
U.S. Maple,
Joe Finger,
Gil Scott-Heron and Jamie xx,
Bobby Womack,
Fluxion,
The Vogues,
Harpers Bizarre,
Loose Ends,
Lizzy Mercier Descloux,
Public Enemy,
Liliput,
The Chocolate Watch Band,
The Mighty Diamonds,
Kaleidoscope,
Terror Squad Feat. Camron,
Theoretical Girls,
Animal Collective,
Barclay James Harvest,
Desert Stars,
Lightning Bolt,
Crooked Eye,
cv313,
Fad Gadget,
Eric Copeland,
Pet Shop Boys,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.