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 Paris.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Copenhagen.
I'm losing my edge to the art-school Bremen 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 linndrum 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 Rotary Connection 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 JFA. All the underground hits.
All Orchestral Manoeuvres in the Dark tracks. I heard you have a vinyl of every Theoretical Girls 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 '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sister Nancy,
Hardrive,
New York Dolls,
kango's stein massive,
Pylon,
Surgeon,
Lungfish,
The Buckinghams,
Ohio Players,
Barrington Levy,
Bill Near,
Rekid,
Godley & Creme,
Curtis Mayfield,
Sexual Harrassment,
Lyres,
Robert Görl,
Roxette,
Camron Feat. Jay Z And Juelz,
The Misunderstood,
A Flock of Seagulls,
H. Thieme,
Negative Approach,
World's Most,
L. Decosne,
Oneida,
Röyhkä ja Rättö ja Lehtisalo,
Mark Hollis,
Ossler,
Nation of Ulysses,
The Index,
DJ Style,
Eli Mardock,
Anthony Braxton,
This Heat,
Masters at Work,
Organ,
It's A Beautiful Day,
The American Breed,
Gil Scott Heron,
The Slackers,
Con Funk Shun,
The Peanut Butter Conspiracy,
Ash Ra Tempel,
Warren Ellis,
the Association,
Depeche Mode,
Wasted Youth,
Quantec,
The Dirtbombs,
The Durutti Column,
PIL,
Electric Light Orchestra,
The Residents,
The Count Five,
Quadrant,
the Normal,
Motorama,
Sly & The Family Stone,
Flash Fearless,
Gang Starr,
Marvin Gaye,
Moby Grape, Moby Grape, Moby Grape, Moby Grape.
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.