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 Kuwait and from Lagos.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Calgary.
I'm losing my edge to the art-school Milan 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 arpeggiator 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 Urselle to the techno kids.
I played it at the Crocodile.
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 Amon Düül II. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every Vaughan Mason & Crew 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 '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Justin Hinds & The Dominoes record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
Gerry Rafferty,
Wire,
Monks,
James White and The Blacks,
Circle Jerks,
Crispy Ambulance,
Marshall Jefferson,
Wighnomy Brothers & Robag Wruhme,
Parry Music,
The Associates,
Sun Ra,
Altered Images,
Soft Machine,
Cecil Taylor,
Pantaleimon,
Shuggie Otis,
Roy Ayers Ubiquity,
Radiohead,
Rosa Yemen,
Bobby Hutcherson,
The J.B.'s,
A Certain Ratio,
David Bowie,
The Star Department,
Lightning Bolt,
Amon Düül,
Outsiders,
New Order,
Cymande,
Cal Tjader,
Idris Muhammad,
The New Christs,
Delta 5,
Goldenarms,
Scott Walker,
Urselle,
Boredoms,
Henry Cow,
JFA,
Mark Hollis,
Yusef Lateef,
Yellowson,
Siglo XX,
Donald Byrd,
Faust,
Tropical Tobacco,
The Motions,
The Moody Blues,
MDC,
Flash Fearless,
Matthew Bourne,
Crime,
Sällskapet,
Can,
The Cowsills,
Tres Demented,
This Heat,
The Martian,
Suicide,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.