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 El Salvador and from Hong Kong.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1967 to 1974.
I'm losing my edge.
To all the kids in Taipei and Madrid.
I'm losing my edge to the art-school Copenhagen 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 clarinet sounds with much patience.
I was there when Tom Verlaine 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 Roy Ayers to the grime kids.
I played it at the 40 Watt.
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 Sex Pistols. All the underground hits.
All Reagan Youth tracks. I heard you have a vinyl of every Gerry Rafferty 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 rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Ornette Coleman,
Barclay James Harvest,
Eve St. Jones,
Throbbing Gristle,
Jeff Mills,
Bill Near,
Marvin Gaye,
Lou Christie,
Metal Thangz,
Connie Case,
Erasure,
Orchestral Manoeuvres in the Dark,
James Chance & The Contortions,
Moss Icon,
Ponytail,
Eli Mardock,
Tommy Roe,
The Royal Family And The Poor,
Kango’s Stein Massive,
MDC,
The Fire Engines,
Justin Hinds & The Dominoes,
The Music Machine,
The Neon Judgement,
The Flesh Eaters,
Roger Hodgson,
Loose Ends,
Sandy B,
Trumans Water,
Brothers Johnson,
Avey Tare's Slasher Flicks,
Susan Cadogan,
Kings Of Tomorrow,
Babytalk,
Aaron Thompson,
Intrusion,
John Foxx,
The Associates,
Kaleidoscope,
Kurtis Blow,
the Germs,
The Fugs,
Heaven 17,
Vainqueur,
Bobby Hutcherson,
It's A Beautiful Day,
Eric Copeland,
Chrome,
Television Personalities,
Marc Almond,
Negative Approach,
Lizzy Mercier Descloux,
John Coltrane,
Todd Rundgren,
Joy Division,
R.M.O.,
K-Klass,
Kas Product,
Erykah Badu,
The Moody Blues,
Scott Walker,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.