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 United Kingdom and from Houston.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Beijing and Lille.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the mellotron sounds with much patience.
I was there when Tom Verlaine 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 Traffic Nightmare to the dance kids.
I played it at the Roxy.
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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every Danielle Patucci 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a 808 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 harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doobie Brothers,
Babytalk,
A Certain Ratio,
The Index,
Vainqueur,
JFA,
Gabor Szabo,
Deakin,
Silicon Teens,
The Smoke,
Vladislav Delay,
The Royal Family And The Poor,
Mission of Burma,
The Angels of Light,
Barrington Levy,
Cymande,
Leonard Cohen,
Marc Romboy vs. Booka Shade,
June of 44,
Kango’s Stein Massive,
Delon & Dalcan,
Gregory Isaacs,
Isaac Hayes,
Niagra,
Dawn Penn,
Country Joe & The Fish,
Popol Vuh,
The Mojo Men,
Crash Course in Science,
Das Ding,
Louis and Bebe Barron,
Hardrive,
Adolescents,
Lee Hazlewood,
Tres Demented,
Kevin Saunderson,
Inner City,
Excepter,
Barclay James Harvest,
Spoonie Gee,
The Selecter,
Procol Harum,
Lyres,
Buzzcocks,
Röyhkä ja Rättö ja Lehtisalo,
Dorothy Ashby,
Pharaoh Sanders and the Fire Engines,
Masters at Work,
Marc Almond,
Nirvana,
The Skatalites,
Qualms,
Matthew Bourne,
Bobby Byrd,
The Standells,
Kas Product,
Q and Not U,
Scott Walker + Sunn O))),
Tropical Tobacco,
Pere Ubu,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.