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 Cape Verde and from Beijing.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1977.
I'm losing my edge.
To all the kids in Copenhagen and Philadelphia.
I'm losing my edge to the art-school Delhi 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 snare sounds with much patience.
I was there when Donald Fagen 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 Swell Maps to the disco kids.
I played it at the 40 Watt.
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 Barclay James Harvest. All the underground hits.
All Joensuu 1685 tracks. I heard you have a vinyl of every The Move 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 '90s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Gang of Four,
Orchestral Manoeuvres in the Dark,
Bizarre Inc.,
The Wake,
Television,
The Barracudas,
Eddi Front,
Howard Jones,
Pierre Henry,
Niagra,
Magazine,
The Associates,
The Misunderstood,
The Sound,
Kaleidoscope,
Magma,
John Holt,
Nik Kershaw,
The Monks,
Sugar Minott,
Hoover,
New Age Steppers,
Basic Channel,
The Grass Roots,
Yaz,
Marvin Gaye,
Graham Central Station,
Black Flag,
Harmonia,
Vainqueur,
OOIOO,
June Days,
Bang on a Can All-Stars,
Neu!,
Throbbing Gristle,
Ponytail,
Todd Rundgren,
The Remains,
T. Rex,
Yazoo,
Alphaville,
Cymande,
Terry Callier,
Rufus Thomas,
Pharaoh Sanders and the Fire Engines,
Toni Rubio,
Kas Product,
Hasil Adkins,
Lyres,
Isaac Hayes,
Kauko Röyhkä ja Narttu,
Moebius,
Scion,
Stetsasonic,
Carl Craig,
48th St. Collective,
The Standells,
A Certain Ratio,
Joy Division,
Chris & Cosey,
H. Thieme,
Pagans, Pagans, Pagans, Pagans.
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.