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 Israel and from Madrid.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Calgary.
I'm losing my edge to the art-school Winnipeg 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 David Bowie 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 Alton Ellis to the jazz kids.
I played it at Cafe Wha.
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 Cabaret Voltaire. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every John Coltrane record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Drexciya,
The Associates,
The Fall,
AZ,
Rites of Spring,
Magma,
Angels of Light & Akron/Family,
Piero Umiliani,
the Fania All-Stars,
Bootsy's Rubber Band,
Siouxsie and the Banshees,
Be Bop Deluxe,
Tomorrow,
The Smoke,
Tres Demented,
Yaz,
Scratch Acid,
Howard Jones,
The Fuzztones,
Angry Samoans,
Marc Almond,
Oppenheimer Analysis,
Television,
The Mummies,
Bauhaus,
The Star Department,
Mo-Dettes,
Audionom,
The J.B.'s,
The New Christs,
Roy Ayers,
ABBA,
Toni Rubio,
Porter Ricks,
Pussy Galore,
Camron Feat. Memphis Bleek And Beenie Seigel,
Minor Threat,
Ultravox,
Popol Vuh,
The Slackers,
Quando Quango,
Red Lorry Yellow Lorry,
Sonic Youth,
The Cowsills,
Brick,
The Golliwogs,
The Barracudas,
cv313,
Subhumans,
Youth Brigade,
Scott Walker,
D'Angelo,
Danielle Patucci,
Minnie Riperton,
Cheater Slicks,
Rekid,
Pole,
Jacques Brel,
Nirvana,
Arcadia,
Ponytail,
Sparks, Sparks, Sparks, Sparks.
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.