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 Zimbabwe and from Bologna.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in Paris and Portland.
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 Nile Rodgers 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 Rosa Yemen to the grime kids.
I played it at the Spitz.
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 James White and The Blacks. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every The Vogues record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
The Blues Magoos,
MDC,
Urselle,
The Mighty Diamonds,
The Red Krayola,
Marshall Jefferson,
Goldenarms,
Larry & the Blue Notes,
Index,
X-101,
Gang of Four,
Tres Demented,
Sonic Youth,
Outsiders,
Fort Wilson Riot,
Jandek,
Metal Thangz,
Arcadia,
Warren Ellis,
The Pop Group,
James White and The Blacks,
The Skatalites,
New Age Steppers,
Angry Samoans,
UT,
Terrestrial Tones,
Siglo XX,
Liaisons Dangereuses,
Robert Hood,
Au Pairs,
World's Most,
Pantaleimon,
Stetsasonic,
Mantronix,
Mark Hollis,
Aaron Thompson,
Yellowson,
Rakim,
Country Joe & The Fish,
Minor Threat,
Jacob Miller,
10cc,
The West Coast Pop Art Experimental Band,
Trumans Water,
Rekid,
Sixth Finger,
Bang On A Can,
Kerrie Biddell,
The Doobie Brothers,
Shoche,
Crime,
Electric Light Orchestra,
Heavy D & The Boyz,
Pierre Henry,
MC5,
Television,
Ludus, Ludus, Ludus, Ludus.
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.