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 Slovakia and from Calgary.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Tehran and Delhi.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the rhodes 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 It's A Beautiful Day to the techno kids.
I played it at the Hacienda.
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 Big Daddy Kane. All the underground hits.
All The Blues Magoos tracks. I heard you have a vinyl of every The Star Department 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
Sight & Sound,
Eric B and Rakim,
Jimmy McGriff,
Patti Smith,
Saccharine Trust,
Gang Starr,
The Golliwogs,
Sandy B,
Mars,
Slave,
Siouxsie and the Banshees,
Audionom,
Dead Boys,
Pere Ubu,
Flash Fearless,
Little Man,
Trumans Water,
The American Breed,
Gerry Rafferty,
L. Decosne,
Jeru the Damaja,
Funky Four + One,
Amon Düül,
Spoonie Gee,
Connie Case,
The Mojo Men,
Q and Not U,
Soft Machine,
Minutemen,
Bootsy Collins,
Lakeside,
Q65,
Fugazi,
Jawbox,
The Evens,
Brick,
Liliput,
Yazoo,
Manfred Mann's Earth Band,
The Martian,
Rowland S Howard / Lydia Lunch,
Lizzy Mercier Descloux,
John Cale,
Kayak,
Neu!,
Jandek,
Deutsch Amerikanische Freundschaft,
Marshall Jefferson,
PIL,
Sonic Youth,
Howard Jones,
James White and The Blacks,
The Doors,
The Barracudas,
The Dirtbombs,
The Birthday Party,
Kings Of Tomorrow,
Ash Ra Tempel,
Joe Smooth,
The Gun Club,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.