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 Colombia and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1965 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Jakarta.
I'm losing my edge to the art-school Sao Paulo 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 marimba sounds with much patience.
I was there when Robert Palmer 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 Nas to the jazz 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 Franke. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Panda Bear 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 '60s cut and another box set from the '90s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Teenage Jesus and the Jerks,
Rufus Thomas,
Marcia Griffiths,
Glambeats Corp.,
Infiniti,
The Black Dice,
Ponytail,
Morten Harket,
Orchestral Manoeuvres in the Dark,
The Gladiators,
Soul II Soul,
Louis and Bebe Barron,
The Fugs,
Dennis Brown,
Gil Scott Heron,
Radio Birdman,
Loose Ends,
The Knickerbockers,
Ultravox,
Stiv Bators,
Art Ensemble Of Chicago,
Erasure,
Sixth Finger,
8 Eyed Spy,
The Martian,
Yaz,
Sister Nancy,
The Victims,
Arthur Verocai,
Sticky Fingaz feat. Raekwon,
Gerry Rafferty,
Funkadelic,
Maurizio,
Danielle Patucci,
Joey Negro,
Donny Hathaway,
Subhumans,
The Remains,
Derrick Morgan,
The Mighty Diamonds,
Cybotron,
Lafayette Afro Rock Band,
Hot Snakes,
Camron Feat. Jay Z And Juelz,
Lebanon Hanover,
Black Moon,
Skriet,
Cluster,
Pulsallama,
Suburban Knight,
Richard Hell and the Voidoids,
Nation of Ulysses,
Dave Gahan,
Isaac Hayes,
Cecil Taylor,
the Soft Cell,
Marshall Jefferson,
the Normal,
Banda Bassotti,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.