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 Tonga and from Hong Kong.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Mexico City.
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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Nas to the funk 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 Nation of Ulysses. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every Spoonie Gee record on German import.
I heard that you have a white label of every seminal disco 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 marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin 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 Alarm Clocks,
Ultramagnetic MC's,
The Fortunes,
Youth Brigade,
Unwound,
Nick Fraelich,
Ash Ra Tempel,
Pierre Henry,
Brand Nubian,
Royal Trux,
Cybotron,
Davy DMX,
Dr. Dre and Snoop Doggy Dog,
Girls At Our Best!,
K-Klass,
Darondo,
Lower 48,
The Barracudas,
Can,
Subhumans,
Bill Near,
Jandek,
Minny Pops,
Q65,
A Certain Ratio,
Peter & Gordon,
The Gories,
Sonny Sharrock,
UT,
Jacob Miller,
Ohio Players,
Jeff Mills,
Dark Day,
The Fire Engines,
The Black Dice,
De La Soul & Jungle Brothers,
Public Enemy,
Magazine,
Junior Murvin,
Basic Channel,
Fear,
The Standells,
Derrick May,
Chrome,
The Moody Blues,
Todd Rundgren,
L. Decosne,
FM Einheit,
Amazonics,
Robert Görl,
Bush Tetras,
CMW,
The Happenings,
Avey Tare's Slasher Flicks,
Nik Kershaw,
Lucky Dragons,
Franke,
Minutemen,
Boz Scaggs,
Blancmange,
Super Lover Cee & Casanova Rud,
Gregory Isaacs,
Inner City,
The Toasters,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.