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 Papua New Guinea and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1967 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Houston.
I'm losing my edge to the art-school Sao Paulo 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 synthesizer 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 Nik Kershaw to the rock 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 The Zeros. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every The Golliwogs record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MC5,
Derrick May,
Anakelly,
Strawberry Alarm Clock,
Neil Young & Crazy Horse,
The Five Americans,
Fort Wilson Riot,
The Angels of Light,
The Blues Magoos,
Lungfish,
Ronan,
Grey Daturas,
Can,
Juan Atkins,
Mark Hollis,
B.T. Express,
Roy Ayers Ubiquity,
Crispian St. Peters,
The Vogues,
Outsiders,
James Chance & The Contortions,
F. McDonald,
Radiopuhelimet,
The Sound,
Scientists,
The Kinks,
Sound Behaviour,
Spoonie Gee,
Animal Collective,
Wasted Youth,
Lucky Dragons,
Patti Smith,
Average White Band,
Letta Mbulu,
Cybotron,
The Misunderstood,
the Germs,
Fear,
Bill Wells,
Soft Machine,
Section 25,
Deakin,
The Monks,
Terror Squad Feat. Camron,
Mr. Review,
Alice Coltrane,
The Barracudas,
Bush Tetras,
Gerry Rafferty,
EPMD,
Michelle Simonal,
Flash Fearless,
Art Ensemble Of Chicago,
Althea and Donna,
Harry Pussy,
Adolescents,
Japan,
Joensuu 1685,
Röyhkä ja Rättö ja Lehtisalo,
Bobby Hutcherson,
Colin Newman,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.