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 Solomon Islands 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 1966 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Toronto.
I'm losing my edge to the art-school Hong Kong 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 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 Slave to the disco 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 The Gap Band. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Urselle record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Kas Product record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Avey Tare's Slasher Flicks,
Anakelly,
Tomorrow,
Mr. Review,
Eric Dolphy,
Thee Headcoats,
Gong,
The Peanut Butter Conspiracy,
Blake Baxter,
Jeru the Damaja,
Roger Hodgson,
Pet Shop Boys,
Moebius,
The Real Kids,
Lalann,
Audionom,
Soul II Soul,
Country Joe & The Fish,
Crooked Eye,
Funkadelic,
The Moleskins,
Lalo Schifrin,
Matthew Bourne,
The Move,
the Normal,
Anthony Braxton,
Alton Ellis,
Ajijia Myrayebe,
Stockholm Monsters,
Wolf Eyes,
Urselle,
Oppenheimer Analysis,
Newcleus,
Soft Machine,
LL Cool J,
Jawbox,
Lower 48,
Captain Beefheart & His Magic Band,
Ken Boothe,
Grandmaster Flash and the Furious Five,
Andrew Hill,
The Sonics,
Ultravox,
Mo-Dettes,
Deadbeat,
The Martian,
Public Image Ltd.,
Qualms,
Scientists,
Radiopuhelimet,
Susan Cadogan,
Slick Rick,
Camberwell Now,
Warren Ellis,
Jerry's Kids,
Ludus,
Nils Olav,
Cabaret Voltaire,
Janne Schatter,
The Offenders,
DJ Style,
Mantronix, Mantronix, Mantronix, Mantronix.
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.