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 Dominica and from Shanghai.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Delhi.
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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Faust to the rap kids.
I played it at the Roxy.
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 Stetsasonic. All the underground hits.
All U.S. Maple tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal jazz 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 an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your guitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
Marine Girls,
The Searchers,
Unrelated Segments,
Crispy Ambulance,
Symarip,
Avey Tare's Slasher Flicks,
Talk Talk,
The Associates,
Black Pus,
Matthew Halsall,
Jacques Brel,
The Skatalites,
Country Teasers,
Main Source,
Joey Negro,
Little Man,
The American Breed,
Interpol,
Gang Starr,
The Motions,
The Blues Magoos,
Sexual Harrassment,
Khruangbin,
Basic Channel,
Scientists,
Bill Wells,
The Standells,
Delon & Dalcan,
The Evens,
Danielle Patucci,
Flash Fearless,
Amazonics,
Johnny Osbourne,
Sun City Girls,
Oppenheimer Analysis,
Tom Boy,
Oneida,
Strawberry Alarm Clock,
Amon Düül,
Dorothy Ashby,
The Doobie Brothers,
the Germs,
Joensuu 1685,
Ronan,
Avey Tare,
Siouxsie and the Banshees,
Tomorrow,
Eli Mardock,
the Sonics,
Judy Mowatt,
Whodini,
X-102,
Kool Moe Dee,
The Vogues,
The Smoke,
Eve St. Jones,
Major Organ And The Adding Machine,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.