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 Greece and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1968 to 1976.
I'm losing my edge.
To all the kids in Halifax and Stockholm.
I'm losing my edge to the art-school Seoul 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 organ 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 Sam Rivers to the techno kids.
I played it at Trash.
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 Bobby Sherman tracks. I heard you have a vinyl of every Buzzcocks record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Yusef Lateef record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Trumans Water,
Qualms,
Cheater Slicks,
Fear,
London Community Gospel Choir,
Pete Rock & C.L. Smooth,
Masters at Work,
Technova,
Porter Ricks,
Iggy Pop,
The Music Machine,
Gang Starr,
Interpol,
Marc Romboy vs. Booka Shade,
Eric Dolphy,
Man Parrish,
The Sound,
Justin Hinds & The Dominoes,
the Soft Cell,
Vainqueur,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Wake,
Jandek,
Intrusion,
The West Coast Pop Art Experimental Band,
New York Dolls,
Bang on a Can All-Stars,
Can,
Lebanon Hanover,
Rhythim Is Rhythim,
ABBA,
Kauko Röyhkä ja Narttu,
Kool G Rap & DJ Polo,
Roy Ayers,
Yazoo,
Absolute Body Control,
Buzzcocks,
The Slackers,
Crispian St. Peters,
The Electric Prunes,
Marshall Jefferson,
Lonnie Liston Smith,
Lower 48,
Magazine,
Warsaw,
the Germs,
Gichy Dan,
Amon Düül,
Michelle Simonal,
Liaisons Dangereuses,
Mark Hollis,
Janne Schatter,
Kings Of Tomorrow,
Donny Hathaway,
The Happenings,
Oppenheimer Analysis,
Ohio Players,
Swans,
Wasted Youth,
Q and Not U,
Cluster, Cluster, Cluster, Cluster.
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.