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 Bosnia Herzegovina and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Seoul and Salvador.
I'm losing my edge to the art-school Columbus 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 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 H. Thieme to the dance 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 The Offenders. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Clear Light record on German import.
I heard that you have a white label of every seminal electroclash 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 snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Deakin record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Bananas,
Fluxion,
Stiv Bators,
Gil Scott Heron,
Lebanon Hanover,
Von Mondo,
Danielle Patucci,
Ice-T,
The Mummies,
Althea and Donna,
Brick,
Fear,
Thompson Twins,
Deakin,
The Fuzztones,
Gastr Del Sol,
The Walker Brothers,
Andrew Ashong & Theo Parrish,
The American Breed,
Youth Brigade,
The Invisible,
Dead Boys,
Pierre Henry,
Minnie Riperton,
Manfred Mann's Earth Band,
Skarface,
Magazine,
The Pop Group,
Subhumans,
The Zeros,
The Neon Judgement,
Bush Tetras,
Cybotron,
Gil Scott-Heron & Brian Jackson,
Shoche,
The Techniques,
In Retrospect,
Joensuu 1685,
Procol Harum,
Patti Smith,
Jesper Dahlbäck,
Inner City,
Wasted Youth,
Terrestrial Tones,
Crispy Ambulance,
Television,
Icehouse,
Pantytec,
Rhythm & Sound,
Marcia Griffiths,
Deadbeat,
Major Organ And The Adding Machine,
Lou Reed & Metallica,
The Fire Engines,
Lalo Schifrin,
Nick Fraelich,
One Last Wish,
Dual Sessions,
New Age Steppers,
Alice Coltrane,
Ultramagnetic MC's,
Radiohead, Radiohead, Radiohead, Radiohead.
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.