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 Thailand and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Halifax and Calgary.
I'm losing my edge to the art-school Copenhagen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 Livin' Joy to the jazz kids.
I played it at the Spitz.
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 Velvet Underground. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Larry & the Blue Notes 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angry Samoans,
Pet Shop Boys,
Ludus,
The Motions,
Traffic Nightmare,
Jerry Gold Smith,
Johnny Clarke,
Brass Construction,
Sexual Harrassment,
Deakin,
Crispian St. Peters,
Thompson Twins,
Little Man,
Cameo,
Juan Atkins,
Judy Mowatt,
Mission of Burma,
Intrusion,
KRS-One,
Circle Jerks,
Unrelated Segments,
Joensuu 1685,
Franke,
Smog,
Model 500,
Bill Wells,
Man Eating Sloth,
Sunsets and Hearts,
Lightning Bolt,
The Dead C,
Avey Tare,
Liaisons Dangereuses,
The Smiths,
Ice-T,
Barrington Levy,
Maleditus Sound,
The Angels of Light,
The Cramps,
Wasted Youth,
Sandy B,
Vainqueur,
Bill Near,
DeepChord presents Echospace,
Dorothy Ashby,
ABBA,
Justin Hinds & The Dominoes,
David McCallum,
The Golliwogs,
Neil Young & Crazy Horse,
Eurythmics,
The Selecter,
Qualms,
Roger Hodgson,
Eric Copeland,
The Slits,
Banda Bassotti,
Stetsasonic,
Bobby Womack,
Lou Christie,
Whodini,
Big Daddy Kane,
Althea and Donna,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.