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 Switzerland and from Manila.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Manchester and Toronto.
I'm losing my edge to the art-school Taipei 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Associates to the grunge kids.
I played it at the Troubador.
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 R.M.O.. All the underground hits.
All Joensuu 1685 tracks. I heard you have a vinyl of every Symarip 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spoonie Gee,
James White and The Blacks,
Mo-Dettes,
The Sonics,
U.S. Maple,
Malaria!,
Yellowson,
Cabaret Voltaire,
Ultramagnetic MC's,
Outsiders,
John Foxx,
Don Cherry,
Ornette Coleman,
The Residents,
Man Parrish,
Sonny Sharrock,
ABBA,
Sad Lovers and Giants,
Dead Boys,
Pet Shop Boys,
Lebanon Hanover,
Hasil Adkins,
PIL,
Glenn Branca,
Ultravox,
Kerri Chandler,
Dual Sessions,
Henry Cow,
Public Enemy,
Joensuu 1685,
Buzzcocks,
Sight & Sound,
Con Funk Shun,
Aural Exciters,
The Flesh Eaters,
F. McDonald,
The Cure,
The Modern Lovers,
Louis and Bebe Barron,
Pete Rock & C.L. Smooth,
Erasure,
Zero Boys,
DJ Style,
Pussy Galore,
Sparks,
The Remains,
Roxette,
Kayak,
Sixth Finger,
Magma,
It's A Beautiful Day,
Pantytec,
Nirvana,
Maleditus Sound,
Kool Moe Dee,
Nas,
Neu!,
The American Breed,
Fatback Band,
H. Thieme,
K-Klass,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.