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 Israel and from Hong Kong.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 Johannesburg and Lille.
I'm losing my edge to the art-school Stockholm 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 rhodes 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 The Moody Blues to the dance kids.
I played it at the Astoria.
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 Moss Icon. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every The J.B.'s 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Cosmic Jokers record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
The Techniques,
Neil Young & Crazy Horse,
kango's stein massive,
Gabor Szabo,
The Electric Prunes,
E-Dancer,
The Modern Lovers,
Red Lorry Yellow Lorry,
UT,
Alison Limerick,
Ludus,
Grauzone,
Black Flag,
Magazine,
Whodini,
H. Thieme,
Public Image Ltd.,
Siouxsie and the Banshees,
the Association,
Amon Düül II,
the Normal,
Ronnie Foster,
Joe Smooth,
Laurel Aitken,
Eric Copeland,
The Black Dice,
Sandy B,
Maleditus Sound,
Roy Ayers Ubiquity,
Babytalk,
Nico,
Nils Olav,
Drive Like Jehu,
Index,
Thee Headcoats,
It's A Beautiful Day,
Icehouse,
Josef K,
Gerry Rafferty,
Suburban Knight,
Don Cherry,
Model 500,
Kool Moe Dee,
Idris Muhammad,
The Slackers,
Animal Collective,
Ornette Coleman,
Agent Orange,
The Tremeloes,
Gil Scott-Heron and Jamie xx,
Quadrant,
Patti Smith,
Cameo,
Camberwell Now,
The Pretty Things,
Rod Modell,
Max Romeo,
Vaughan Mason & Crew,
Pussy Galore,
Fad Gadget,
Das Ding,
Kayak, Kayak, Kayak, Kayak.
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.