Infinitely Losing My Edge

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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 the UAE and from Bremen.
But I was there.

I was there in 1979.
I was there at the first Second Layer show in South 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 1964 to 1975.
I'm losing my edge.

To all the kids in Shanghai and Shanghai.
I'm losing my edge to the art-school Edmonton 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 808 sounds with much patience.
I was there when Lou Reed 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 Nation of Ulysses to the techno kids.
I played it at the 40 Watt.
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 Sonics. All the underground hits.

All Slave tracks. I heard you have a vinyl of every Kerri Chandler record on German import.

I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.

I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Wasted Youth record.

I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.

I hear everybody that you know is more relevant than everybody that I know.

But have you seen my records?

Avey Tare's Slasher Flicks, The Standells, The Velvet Underground, Rotary Connection, Gregory Isaacs, Marc Almond, Kings Of Tomorrow, The Last Poets, Thinking Fellers Union Local 282, Yaz, Thee Headcoats, T.S.O.L., Parry Music, the Swans, The Doobie Brothers, The Real Kids, Joe Finger, L. Decosne, Lou Christie, Max Romeo, The West Coast Pop Art Experimental Band, Dennis Brown, Dark Day, Section 25, It's A Beautiful Day, Japan, X-102, Massinfluence, Mo-Dettes, Rapeman, Brand Nubian, The Young Rascals, Warren Ellis, PIL, Kas Product, Jeru the Damaja, The Gladiators, The Music Machine, Mark Hollis, The Associates, T. Rex, Agitation Free, Wighnomy Brothers & Robag Wruhme, FM Einheit, The Fugs, Wings, Robert Görl, Alice Coltrane, Lalo Schifrin, Jesper Dahlback, John Lydon, cv313, Excepter, A Certain Ratio, The Durutti Column, Marmalade, Stetsasonic, Fear, Neu!, Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.

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.

A hack by Matthew Ogle who is very sorry to James Murphy and basically everyone (cheers to Darius and this for the late-night inspiration)