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 Malaysia and from New York.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Accra and Lille.
I'm losing my edge to the art-school Stockholm 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 linndrum sounds with much patience.
I was there when David Bowie 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 Iggy Pop 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 the Germs. All the underground hits.
All the Fania All-Stars tracks. I heard you have a vinyl of every Tres Demented record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
David Axelrod,
The Tremeloes,
Negative Approach,
Strawberry Alarm Clock,
New Order,
Tropical Tobacco,
Sun City Girls,
Joyce Sims,
Sun Ra,
Siouxsie and the Banshees,
Marvin Gaye,
The Divine Comedy,
Bootsy's Rubber Band,
The Residents,
Eyeless In Gaza,
The Invisible,
Eden Ahbez,
Barry Ungar,
Danielle Patucci,
Kerrie Biddell,
The Dead C,
Godley & Creme,
Bush Tetras,
The Moody Blues,
This Heat,
X-101,
Unrelated Segments,
Robert Wyatt,
Davy DMX,
Eve St. Jones,
Sister Nancy,
Royal Trux,
Fela Kuti,
48th St. Collective,
Public Enemy,
Severed Heads,
Nico,
David Bowie,
Colin Newman,
Urselle,
Chris & Cosey,
The Fugs,
Saccharine Trust,
Black Moon,
Deakin,
The Durutti Column,
The Cramps,
Laurel Aitken,
Reuben Wilson,
Malaria!,
Freddie Wadling,
Bill Wells,
Bobbi Humphrey,
Angry Samoans,
Lee Hazlewood,
Scott Walker,
Clear Light,
Stereo Dub,
Soulsonic Force,
DJ Sneak,
Janne Schatter,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.