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 Syria and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Spokane and Delhi.
I'm losing my edge to the art-school Tehran 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Yazoo to the funk kids.
I played it at the Crocodile.
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 Louis and Bebe Barron. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every the Association record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Magma record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
Bobby Hutcherson,
Fear,
The Durutti Column,
The Offenders,
Charles Mingus,
London Community Gospel Choir,
Sam Rivers,
Clear Light,
Angry Samoans,
Tim Buckley,
Porter Ricks,
John Coltrane,
Television Personalities,
Ronan,
Minutemen,
Aural Exciters,
Q and Not U,
The Cowsills,
James White and The Blacks,
Smog,
Notorious BIG live in Amsterdam,
Sexual Harrassment,
Depeche Mode,
Bizarre Inc.,
MC5,
Echo & the Bunnymen,
Ituana,
Robert Hood,
Max Romeo,
CMW,
Liaisons Dangereuses,
Amazonics,
Faust,
Bill Wells,
Kaleidoscope,
Bauhaus,
The Fuzztones,
Archie Shepp,
Blake Baxter,
Pierre Henry,
Röyhkä ja Rättö ja Lehtisalo,
Delon & Dalcan,
Gabor Szabo,
Blancmange,
The Fall,
Marc Romboy vs. Booka Shade,
Super Lover Cee & Casanova Rud,
Mars,
The Remains,
Reuben Wilson,
World's Most,
X-101,
Drexciya,
Ultravox,
Patti Smith,
The Jesus and Mary Chain,
the Germs,
The Red Krayola,
The Zeros,
Pagans,
Can,
June of 44,
Nas,
Q65, Q65, Q65, Q65.
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.