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 Haiti and from Delhi.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school Hong Kong 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Stockholm Monsters to the techno 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 Maleditus Sound. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Grandmaster Flash,
X-102,
Lafayette Afro Rock Band,
Basic Channel,
Pierre Henry,
Ultramagnetic MC's,
Arab on Radar,
The Vogues,
Agent Orange,
Con Funk Shun,
John Holt,
Mark Hollis,
Royal Trux,
Smog,
Avey Tare & Kría Brekkan,
Sixth Finger,
The Modern Lovers,
Marc Almond,
Fort Wilson Riot,
Tomorrow,
Harmonia,
Masters at Work,
Symarip,
EPMD,
The Men They Couldn't Hang,
Moby Grape,
Crispian St. Peters,
Ludus,
Sexual Harrassment,
Wings,
Godley & Creme,
Minnie Riperton,
Danielle Patucci,
Ronnie Foster,
Johnny Clarke,
The Flesh Eaters,
The Fire Engines,
Bobby Womack,
The Doors,
Audionom,
The Slits,
Arcadia,
Pussy Galore,
Moebius,
Alice Coltrane,
Cluster,
Fad Gadget,
Electric Prunes,
Bob Dylan,
June Days,
Terrestrial Tones,
The Monks,
the Fania All-Stars,
Monks,
Desert Stars,
Rod Modell,
Jacques Brel,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.