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 Eritrea and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Manila and Madrid.
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 marimba sounds with much patience.
I was there when Michael McDonald 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 Qualms to the electroclash kids.
I played it at CBGB's.
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 Avey Tare & Kría Brekkan. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every Amon Düül 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Five Americans record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
Jacob Miller,
The Move,
Gil Scott-Heron and Jamie xx,
Ohio Players,
Bobby Hutcherson,
Kas Product,
Supertramp,
kango's stein massive,
Rufus Thomas,
AZ,
Neu!,
Scratch Acid,
Little Man,
Schoolly D,
Sight & Sound,
Kerrie Biddell,
The Evens,
Skaos,
Jacques Brel,
Depeche Mode,
Ituana,
B.T. Express,
Girls At Our Best!,
Arab on Radar,
John Holt,
Gil Scott-Heron & Brian Jackson,
Aswad,
The Litter,
Godley & Creme,
Crooked Eye,
Richard Hell and the Voidoids,
Soft Machine,
Aural Exciters,
Jawbox,
Ornette Coleman,
Babytalk,
DNA,
Adolescents,
Bill Near,
Duran Duran,
Clear Light,
The Dave Clark Five,
The Raincoats,
John Lydon,
Nils Olav,
Minor Threat,
The Cramps,
Albert Ayler,
Massinfluence,
X-102,
T. Rex,
Sunsets and Hearts,
Eyeless In Gaza,
The Peanut Butter Conspiracy,
Nick Fraelich,
The Young Rascals,
Sun Ra Arkestra,
Wighnomy Brothers & Robag Wruhme,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.