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 Argentina and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Delhi and Shanghai.
I'm losing my edge to the art-school Houston 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 rhodes sounds with much patience.
I was there when David Bowie 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 The Standells to the funk 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 Roy Ayers Ubiquity. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every Quantec record on German import.
I heard that you have a white label of every seminal techno 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 chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Gerry Rafferty,
Neil Young & Crazy Horse,
The Doobie Brothers,
Lou Reed & Metallica,
Das Ding,
Buzzcocks,
Angry Samoans,
Isaac Hayes,
Unrelated Segments,
Lafayette Afro Rock Band,
Deutsch Amerikanische Freundschaft,
The Dave Clark Five,
Lalann,
Funky Four + One,
Lungfish,
The Barracudas,
The Star Department,
Louis and Bebe Barron,
Roy Ayers Ubiquity,
Be Bop Deluxe,
Alphaville,
Vaughan Mason & Crew,
The Walker Brothers,
Jeff Lynne,
Tomorrow,
Kauko Röyhkä ja Narttu,
Deepchord,
John Cale,
Quadrant,
The Wake,
Whodini,
Ossler,
Siouxsie and the Banshees,
Half Japanese,
Gil Scott-Heron & Brian Jackson,
Tom Boy,
Model 500,
La Düsseldorf,
U.S. Maple,
New Order,
Eric Copeland,
Schoolly D,
Connie Case,
Ten City,
the Swans,
Andrew Hill,
Q65,
Flipper,
Smog,
Man Parrish,
The Electric Prunes,
Selector Dub Narcotic,
Glenn Branca,
The Litter,
Warsaw,
MDC,
The Evens,
Fad Gadget,
Zapp,
Wolf Eyes,
Jeff Mills,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Masta Ace, Craig G, Kool G Rap, 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.