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 Mauritius and from Taipei.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Columbus and Bremen.
I'm losing my edge to the art-school Lyon 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Masters at Work to the techno kids.
I played it at the Crocodile.
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 David Axelrod. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Freddie Wadling record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro 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?
Rahsaan Roland Kirk,
X-101,
Excepter,
Lou Reed & Metallica,
The Last Poets,
Cybotron,
Gary Puckett & The Union Gap,
Altered Images,
The Standells,
The Five Americans,
Gil Scott Heron,
Crash Course in Science,
In Retrospect,
Electric Light Orchestra,
Moss Icon,
Bill Near,
Throbbing Gristle,
Terrestrial Tones,
The Divine Comedy,
The Pretty Things,
Maleditus Sound,
Sister Nancy,
Unwound,
Model 500,
Pharaoh Sanders and the Fire Engines,
Arab on Radar,
Negative Approach,
Easy Going,
Camouflage,
The Moody Blues,
Newcleus,
Deadbeat,
Boredoms,
Absolute Body Control,
U.S. Maple,
Glambeats Corp.,
The Sound,
The Fuzztones,
The Shadows of Knight,
Ronan,
L. Decosne,
Moebius,
Johnny Osbourne,
Stiv Bators,
Hashim,
Essential Logic,
The Chocolate Watch Band,
Subhumans,
Shuggie Otis,
The Star Department,
Echospace,
Nik Kershaw,
Trumans Water,
The Cowsills,
The Cosmic Jokers,
The Knickerbockers,
Ultra Naté,
The Grass Roots,
Roy Ayers,
Cecil Taylor,
Scott Walker,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.