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 Namibia and from Philadelphia.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1969 to 1971.
I'm losing my edge.
To all the kids in Manchester and Bremen.
I'm losing my edge to the art-school Columbus 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 spring reverb 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 Jerry Gold Smith to the techno 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 The Smiths. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every Matthew Halsall 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Ten City,
E-Dancer,
The West Coast Pop Art Experimental Band,
Fort Wilson Riot,
Richard Hell and the Voidoids,
Yaz,
Monks,
The Barracudas,
The Dead C,
Vainqueur,
Gang Gang Dance,
Johnny Osbourne,
Jeru the Damaja,
Jawbox,
The American Breed,
The Busters,
Pole,
Lebanon Hanover,
Red Lorry Yellow Lorry,
The Chocolate Watch Band,
The Kinks,
Glambeats Corp.,
Rakim,
Wighnomy Brothers & Robag Wruhme,
Kas Product,
The Music Machine,
Essential Logic,
Max Romeo,
Motorama,
Flash Fearless,
Crash Course in Science,
The Toasters,
Kool Moe Dee,
Letta Mbulu,
Boogie Down Productions,
The Detroit Cobras,
Hardrive,
Eve St. Jones,
Moebius,
Porter Ricks,
Kaleidoscope,
Grandmaster Flash,
Big Daddy Kane,
Sexual Harrassment,
Roxy Music,
Surgeon,
The Seeds,
John Lydon,
The Fire Engines,
Marshall Jefferson,
Brick,
the Soft Cell,
Sam Rivers,
Rhythim Is Rhythim,
The Stooges,
Youth Brigade,
Matthew Bourne,
The Pretty Things,
Yellowson,
Eyeless In Gaza,
Skriet,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.