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 Madrid.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1971.
I'm losing my edge.
To all the kids in Spokane and Portland.
I'm losing my edge to the art-school Philadelphia 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 oboe sounds with much patience.
I was there when Lou Reed 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 Thompson Twins to the techno kids.
I played it at the Astoria.
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 Half Japanese. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every Tropical Tobacco 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 '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Sunsets and Hearts,
Groovy Waters,
Whodini,
Aural Exciters,
Soft Machine,
Scion,
Intrusion,
Manfred Mann's Earth Band,
Laurel Aitken,
Ken Boothe,
Susan Cadogan,
Be Bop Deluxe,
Audionom,
Max Romeo,
Wings,
Country Joe & The Fish,
KRS-One,
June of 44,
Interpol,
Iggy Pop,
Kayak,
Heaven 17,
The Cowsills,
La Düsseldorf,
The Golliwogs,
the Germs,
Harry Pussy,
Lower 48,
UT,
Mars,
The United States of America,
Index,
Skriet,
Eric Dolphy,
Model 500,
Röyhkä ja Rättö ja Lehtisalo,
Carl Craig,
The Flesh Eaters,
Stockholm Monsters,
Mandrill,
Dave Gahan,
B.T. Express,
Boogie Down Productions,
Reuben Wilson,
A Certain Ratio,
the Soft Cell,
Scott Walker + Sunn O))),
Colin Newman,
Scan 7,
De La Soul & Jungle Brothers,
Bronski Beat,
Godley & Creme,
Ultra Naté,
Barrington Levy,
Thompson Twins,
Oppenheimer Analysis,
Hashim,
Young Marble Giants,
Alphaville,
Chrome,
Jesper Dahlback,
Skaos,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.