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 Honduras and from Stockholm.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Tehran.
I'm losing my edge to the art-school Cairo 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 mellotron 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 Maleditus Sound to the punk kids.
I played it at the Astoria.
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 Minnie Riperton. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal disco 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 a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Goldenarms record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Q65,
Joyce Sims,
Mr. Review,
Half Japanese,
Brand Nubian,
Pantytec,
Hot Snakes,
Eurythmics,
Wolf Eyes,
Graham Central Station,
Henry Cow,
Bush Tetras,
Black Flag,
Eddi Front,
Althea and Donna,
The Dirtbombs,
Avey Tare & Kría Brekkan,
Barbara Tucker,
The Fuzztones,
Barclay James Harvest,
Super Lover Cee & Casanova Rud,
Gil Scott-Heron and Jamie xx,
Pylon,
The J.B.'s,
Carl Craig,
Groovy Waters,
This Heat,
Chris & Cosey,
John Lydon,
Bob Dylan,
the Swans,
Black Bananas,
Stockholm Monsters,
Erasure,
Severed Heads,
Reagan Youth,
Brick,
Silicon Teens,
Joe Finger,
Eric B and Rakim,
Livin' Joy,
Connie Case,
Jeff Mills,
Kas Product,
Pharaoh Sanders and the Fire Engines,
Tom Boy,
Fifty Foot Hose,
Qualms,
Mo-Dettes,
Ken Boothe,
Tears for Fears,
Hasil Adkins,
The Fall,
Warsaw,
Aswad,
Roxy Music,
Vladislav Delay,
Man Eating Sloth,
Index,
DJ Style,
Drexciya,
The Move,
Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks.
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.