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 Lesotho and from Lyon.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1960 to 1977.
I'm losing my edge.
To all the kids in Tehran and Lyon.
I'm losing my edge to the art-school Manchester 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 synthesizer 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 The Real Kids to the techno kids.
I played it at the Troubador.
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 Bush Tetras. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every Outsiders record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Yusef Lateef,
Lungfish,
MC5,
Barry Ungar,
Jesper Dahlbäck,
Mad Mike,
Man Parrish,
KRS-One,
Dorothy Ashby,
Ronan,
U.S. Maple,
Quadrant,
The Saints,
Avey Tare,
Erasure,
Crooked Eye,
Swans,
Faust,
Buzzcocks,
Marvin Gaye,
UT,
The Jesus and Mary Chain,
Soul Sonic Force,
Section 25,
Roy Ayers,
Röyhkä ja Rättö ja Lehtisalo,
Urselle,
Radio Birdman,
Popol Vuh,
The Busters,
The Motions,
Blancmange,
Sandy B,
Teenage Jesus and the Jerks,
Danielle Patucci,
Mantronix,
Magazine,
Unrelated Segments,
Dual Sessions,
The Peanut Butter Conspiracy,
Ajijia Myrayebe,
The Gap Band,
Public Image Ltd.,
Eyeless In Gaza,
Flipper,
The Fire Engines,
Terror Squad Feat. Camron,
Pharoah Sanders,
Amon Düül,
Marcia Griffiths,
Kool G Rap & DJ Polo,
It's A Beautiful Day,
Sunsets and Hearts,
Schoolly D,
Bluetip,
Joe Smooth,
Wolf Eyes,
Crime,
Magma,
The Men They Couldn't Hang,
Frankie Knuckles, Frankie Knuckles, Frankie Knuckles, Frankie Knuckles.
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.