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 Tuvalu and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Lille and Milan.
I'm losing my edge to the art-school Houston 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 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 Infiniti to the dance 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 Prince Buster. All the underground hits.
All EPMD tracks. I heard you have a vinyl of every The Buckinghams record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Bananas,
Larry & the Blue Notes,
Barclay James Harvest,
Ossler,
Jacques Brel,
Eli Mardock,
Young Marble Giants,
Bobby Sherman,
Dawn Penn,
Big Daddy Kane,
The Doors,
Art Ensemble Of Chicago,
John Holt,
Public Image Ltd.,
The Leaves,
Delta 5,
Arthur Verocai,
Carl Craig,
Gil Scott-Heron and Jamie xx,
Robert Görl,
Duran Duran,
Massinfluence,
Neil Young,
Radio Birdman,
Notorious BIG live in Amsterdam,
Traffic Nightmare,
The Index,
Electric Prunes,
Matthew Halsall,
Barry Ungar,
R.M.O.,
Shuggie Otis,
The Fortunes,
Heavy D & The Boyz,
Tommy Roe,
Johnny Osbourne,
Captain Beefheart & His Magic Band,
Idris Muhammad,
Röyhkä ja Rättö ja Lehtisalo,
U.S. Maple,
Gabor Szabo,
Bad Manners,
Scratch Acid,
Ituana,
Godley & Creme,
John Coltrane,
Rahsaan Roland Kirk,
Yusef Lateef,
Symarip,
Rowland S Howard / Lydia Lunch,
Lower 48,
Jimmy McGriff,
The Modern Lovers,
Soul Sonic Force,
Lakeside,
Lalo Schifrin,
Nico,
Fluxion,
Altered Images,
X-Ray Spex,
Moss Icon,
The Stooges,
Jandek, Jandek, Jandek, Jandek.
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.