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 Kuwait and from Madrid.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Bologna.
I'm losing my edge to the art-school Milan 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Electric Prunes to the grunge 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 Guru Guru. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Lafayette Afro Rock Band record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
The Victims,
The Dave Clark Five,
Orchestral Manoeuvres in the Dark,
Franke,
Circle Jerks,
Joe Finger,
Cecil Taylor,
Mo-Dettes,
Visage,
Fluxion,
Gang Starr,
Bad Manners,
The Mighty Diamonds,
The Alarm Clocks,
Make Up,
Soft Cell,
Tommy Roe,
Pierre Henry,
Half Japanese,
Rod Modell,
Deakin,
Motorama,
The Detroit Cobras,
Donald Byrd,
Excepter,
Davy DMX,
The Angels of Light,
Ash Ra Tempel,
Radio Birdman,
The Chocolate Watch Band,
Henry Cow,
Dave Gahan,
Nik Kershaw,
Tom Boy,
The New Christs,
Susan Cadogan,
Notorious BIG live in Amsterdam,
Faust,
Sandy B,
The Barracudas,
X-101,
Los Fastidios,
A Certain Ratio,
Peter & Gordon,
The Gories,
Jerry Gold Smith,
Can,
B.T. Express,
Roger Hodgson,
Rites of Spring,
Public Enemy,
The Durutti Column,
Gerry Rafferty,
David Axelrod,
Justin Hinds & The Dominoes,
Silicon Teens,
Japan,
It's A Beautiful Day,
Brass Construction,
the Association,
Rowland S Howard / Lydia Lunch,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.