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 Nepal and from Toronto.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Manchester and Taipei.
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 mellotron 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 Jesper Dahlbäck 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 Spandau Ballet. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every Mission of Burma 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 '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
Eli Mardock,
ABBA,
Kenny Larkin,
Agent Orange,
The Electric Prunes,
Be Bop Deluxe,
John Lydon,
Cecil Taylor,
Donny Hathaway,
Graham Central Station,
Funkadelic,
The Fuzztones,
Pantaleimon,
EPMD,
Pere Ubu,
Spoonie Gee,
Roy Ayers Ubiquity,
Eurythmics,
Siglo XX,
Hasil Adkins,
Masters at Work,
E-Dancer,
48th St. Collective,
Robert Wyatt,
Rufus Thomas,
Panda Bear,
Sun Ra Arkestra,
Shuggie Otis,
Fugazi,
Pagans,
Los Fastidios,
Excepter,
The Martian,
Scion,
Judy Mowatt,
Heavy D & The Boyz,
Ten City,
The Gap Band,
Alphaville,
The Black Dice,
the Fania All-Stars,
Flash Fearless,
Chrome,
Pharaoh Sanders and the Fire Engines,
Thompson Twins,
Curtis Mayfield,
Scrapy,
Bush Tetras,
Cymande,
CMW,
Wolf Eyes,
The Offenders,
Unwound,
Faraquet,
Outsiders,
Fluxion,
Tropical Tobacco,
Letta Mbulu,
Echospace,
10cc,
Amazonics,
Mission of Burma, Mission of Burma, Mission of Burma, Mission of Burma.
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.