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 Colombia and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1977.
I'm losing my edge.
To all the kids in Woodstock and Houston.
I'm losing my edge to the art-school Spokane 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Joey Negro to the electroclash 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 Sight & Sound. All the underground hits.
All Bobby Byrd tracks. I heard you have a vinyl of every Audionom record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sun Ra Arkestra record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Angry Samoans,
The Divine Comedy,
Bootsy Collins,
Ultramagnetic MC's,
Slick Rick,
Letta Mbulu,
Siglo XX,
X-101,
Joe Smooth,
Amazonics,
Alison Limerick,
The Detroit Cobras,
Magma,
Jacob Miller,
Procol Harum,
Bobbi Humphrey,
Fort Wilson Riot,
Eric Copeland,
Radio Birdman,
Traffic Nightmare,
Stetsasonic,
Archie Shepp,
Faraquet,
Echospace,
Notorious BIG live in Amsterdam,
Toni Rubio,
Electric Prunes,
T.S.O.L.,
Soft Cell,
Peter and Kerry,
Icehouse,
The Angels of Light,
Jeff Lynne,
Underground Resistance,
The Cosmic Jokers,
Spoonie Gee,
Kauko Röyhkä ja Narttu,
New Order,
Anakelly,
London Community Gospel Choir,
Reuben Wilson,
Little Man,
Marcia Griffiths,
Sound Behaviour,
The Standells,
the Swans,
Tomorrow,
The Chocolate Watch Band,
The Zeros,
Bootsy's Rubber Band,
The Searchers,
Nico,
Guru Guru,
AZ,
The Jesus and Mary Chain,
Ituana,
Buzzcocks,
Marvin Gaye,
Alice Coltrane,
Mission of Burma,
Negative Approach,
Franke,
Visage,
ABC, ABC, ABC, ABC.
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.