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 Mongolia and from Taipei.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1968 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Mumbai.
I'm losing my edge to the art-school Bremen 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 spring reverb 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 Terry Callier to the jazz kids.
I played it at the Spitz.
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 Hardrive. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Marvin Gaye record on German import.
I heard that you have a white label of every seminal dance 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 sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Patti Smith,
Dual Sessions,
The Velvet Underground,
De La Soul & Jungle Brothers,
Zero Boys,
The Count Five,
The Mojo Men,
Fat Boys,
LL Cool J,
The Barracudas,
Hasil Adkins,
World's Most,
The Fugs,
Notorious Big And Bone Thugs,
Brand Nubian,
Agitation Free,
Amon Düül II,
X-101,
The Grass Roots,
Don Cherry,
Sällskapet,
Black Moon,
Man Parrish,
The Smiths,
Black Bananas,
Rufus Thomas,
The Skatalites,
Todd Rundgren,
Kool Moe Dee,
Dave Gahan,
Aswad,
Vaughan Mason & Crew,
Isaac Hayes,
Archie Shepp,
The West Coast Pop Art Experimental Band,
Gian Franco Pienzio,
The Motions,
Crash Course in Science,
Bill Near,
The Gladiators,
The Techniques,
Grauzone,
The Slackers,
Icehouse,
The Fuzztones,
Kayak,
Saccharine Trust,
Jeff Lynne,
Suicide,
Matthew Halsall,
X-102,
Mr. Review,
Hashim,
Siglo XX,
The Dead C,
The Angels of Light,
The Vogues,
John Foxx,
Rekid,
Whodini,
Eli Mardock, Eli Mardock, Eli Mardock, Eli Mardock.
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.