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 China and from Paris.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Houston and Columbus.
I'm losing my edge to the art-school Edmonton 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 Pierre Henry to the dance 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 Rhythm & Sound. All the underground hits.
All The Blackbyrds tracks. I heard you have a vinyl of every Camouflage 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 '60s cut and another box set from the '90s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Manfred Mann's Earth Band record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
Joe Finger,
Reuben Wilson,
Marvin Gaye,
Graham Central Station,
Circle Jerks,
Kool G Rap & DJ Polo,
Letta Mbulu,
Fort Wilson Riot,
Kenny Larkin,
The Misunderstood,
The Raincoats,
Peter and Kerry,
The Standells,
June Days,
Malaria!,
The Gories,
The J.B.'s,
Liaisons Dangereuses,
Siouxsie and the Banshees,
The Knickerbockers,
Fatback Band,
Eric B and Rakim,
The Sound,
The Remains,
Hardrive,
The Real Kids,
Dawn Penn,
Ultra Naté,
Barclay James Harvest,
Echo & the Bunnymen,
Ken Boothe,
Bobby Womack,
Flipper,
Supertramp,
Jeff Mills,
Connie Case,
Sun Ra,
Hashim,
La Düsseldorf,
Don Cherry,
Los Fastidios,
Barry Ungar,
Rakim,
Soulsonic Force,
the Slits,
The Human League,
The Motions,
Blancmange,
Lightning Bolt,
Lafayette Afro Rock Band,
MC5,
Outsiders,
The Peanut Butter Conspiracy,
Reagan Youth,
Iggy Pop,
The Pretty Things,
The Barracudas,
Section 25,
Loose Ends,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.