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 Kuwait and from Sao Paulo.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Glasgow.
I'm losing my edge to the art-school Stockholm 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 snare sounds with much patience.
I was there when Michael McDonald 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 Barrington Levy to the dance kids.
I played it at the Roxy.
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 Supertramp. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal rock 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 a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar 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,
The Fortunes,
Quadrant,
Röyhkä ja Rättö ja Lehtisalo,
Neu!,
Minnie Riperton,
Scan 7,
La Düsseldorf,
Bang on a Can All-Stars,
Matthew Bourne,
Pete Rock & C.L. Smooth,
OOIOO,
8 Eyed Spy,
Marshall Jefferson,
Thompson Twins,
Glambeats Corp.,
Marc Romboy vs. Booka Shade,
Strawberry Alarm Clock,
The Raincoats,
T.S.O.L.,
Al Stewart,
The Cowsills,
Johnny Osbourne,
Silicon Teens,
Don Cherry,
Parry Music,
The Busters,
Ultra Naté,
Loose Ends,
Guru Guru,
JFA,
DNA,
ABBA,
Delon & Dalcan,
Los Fastidios,
Man Eating Sloth,
June Days,
Funkadelic,
The Pop Group,
Nils Olav,
A Flock of Seagulls,
The Red Krayola,
The New Christs,
The Young Rascals,
The Knickerbockers,
Aswad,
Amazonics,
Pussy Galore,
The Techniques,
The Toasters,
Cabaret Voltaire,
Cluster,
Sonic Youth,
The Slackers,
The Tremeloes,
Pharoah Sanders,
Japan, Japan, Japan, Japan.
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.