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 Ireland and from Stockholm.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Delhi and Hong Kong.
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 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 Interpol to the punk kids.
I played it at the Troubador.
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 Bang on a Can All-Stars. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Neu! 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 '90s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Fort Wilson Riot,
Ultra Naté,
Peter Gordon & Love of Life Orchestra,
Malaria!,
Slick Rick,
Fela Kuti,
Echospace,
Rhythim Is Rhythim,
Camouflage,
Soul II Soul,
Nirvana,
Ludus,
Flipper,
The Cramps,
Soulsonic Force,
T. Rex,
Alison Limerick,
the Swans,
Don Cherry,
The Detroit Cobras,
Johnny Osbourne,
Lungfish,
Scientists,
The Remains,
Jerry Gold Smith,
Robert Görl,
Q65,
Wighnomy Brothers & Robag Wruhme,
Echo & the Bunnymen,
T.S.O.L.,
Sly & The Family Stone,
Bobby Sherman,
Albert Ayler,
Fad Gadget,
The Slits,
Aloha Tigers,
The Music Machine,
Scan 7,
Neu!,
Fat Boys,
In Retrospect,
Harpers Bizarre,
Michelle Simonal,
Subhumans,
Index,
Negative Approach,
Kas Product,
Oblivians,
Deutsch Amerikanische Freundschaft,
Severed Heads,
Richard Hell and the Voidoids,
Teenage Jesus and the Jerks,
New Age Steppers,
Dave Gahan,
Schoolly D,
Eddi Front,
10cc,
The Sound,
Hashim,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.