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 Jordan and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1975.
I'm losing my edge.
To all the kids in Taipei and Houston.
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 organ 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 The Electric Prunes to the grime kids.
I played it at the Hacienda.
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 Joy Division. All the underground hits.
All Pharaoh Sanders and the Fire Engines tracks. I heard you have a vinyl of every Adolescents record on German import.
I heard that you have a white label of every seminal rock 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 an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Henry Cow record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalann,
Agent Orange,
The Walker Brothers,
The Young Rascals,
Banda Bassotti,
The Leaves,
Jacob Miller,
John Holt,
Interpol,
Tears for Fears,
Sad Lovers and Giants,
Young Marble Giants,
Magazine,
X-101,
The Dead C,
Orchestral Manoeuvres in the Dark,
Lakeside,
Kaleidoscope,
The Moleskins,
Agitation Free,
Anthony Braxton,
Pierre Henry,
Ornette Coleman,
Althea and Donna,
Camberwell Now,
Grandmaster Flash,
The Fuzztones,
Lower 48,
Lou Reed & John Cale,
Mary Jane Girls,
Gichy Dan,
Cecil Taylor,
Skaos,
Japan,
Absolute Body Control,
Bobby Sherman,
The Royal Family And The Poor,
Howard Jones,
Hoover,
Bauhaus,
Maurizio,
Gong,
Jawbox,
EPMD,
Gang of Four,
Negative Approach,
Amon Düül,
Lindisfarne,
The Cosmic Jokers,
Television Personalities,
H. Thieme,
James Chance & The Contortions,
Unrelated Segments,
The Detroit Cobras,
Country Joe & The Fish,
Matthew Bourne,
Lizzy Mercier Descloux,
Gastr Del Sol,
Average White Band,
X-102,
R.M.O.,
Neil Young,
Duran Duran,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.