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 Finland and from Columbus.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1963 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Madrid.
I'm losing my edge to the art-school Tehran 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 guitar sounds with much patience.
I was there when Holger Czukay 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 Invisible to the disco kids.
I played it at the Spitz.
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 Smog. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every The Monks 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 '90s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
Stockholm Monsters,
Albert Ayler,
Bang on a Can All-Stars,
The Associates,
Vaughan Mason & Crew,
Gil Scott Heron,
Black Bananas,
Robert Görl,
Ohio Players,
Unwound,
Kurtis Blow,
Cybotron,
Grauzone,
Suicide,
Rotary Connection,
Judy Mowatt,
Camouflage,
Brothers Johnson,
Donny Hathaway,
Silicon Teens,
Nils Olav,
Schoolly D,
F. McDonald,
Japan,
June Days,
Electric Prunes,
The Young Rascals,
Minnie Riperton,
a-ha,
DJ Sneak,
Thee Headcoats,
Aloha Tigers,
the Soft Cell,
The Tremeloes,
June of 44,
The Electric Prunes,
Soulsonic Force,
Pantaleimon,
Sun Ra Arkestra,
Vladislav Delay,
Cameo,
The Standells,
Underground Resistance,
Eric Dolphy,
Flamin' Groovies,
Goldenarms,
Sun City Girls,
The Searchers,
Agitation Free,
Ice-T,
Television,
Kerrie Biddell,
Avey Tare,
Soul Sonic Force,
The Cramps,
Scion,
A Flock of Seagulls,
Con Funk Shun,
Lightning Bolt,
Boogie Down Productions,
Skaos,
Interpol,
The Move, The Move, The Move, The Move.
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.