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 Bosnia Herzegovina and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Seoul and Delhi.
I'm losing my edge to the art-school London 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Orchestral Manoeuvres in the Dark to the rock 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 Sarah Menescal. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every Darondo record on German import.
I heard that you have a white label of every seminal rap 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 clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
The Searchers,
Siglo XX,
48th St. Collective,
Avey Tare's Slasher Flicks,
Sparks,
Shuggie Otis,
Aural Exciters,
Subhumans,
Faust,
Sad Lovers and Giants,
Icehouse,
Masters at Work,
Von Mondo,
Jerry's Kids,
Colin Newman,
Electric Prunes,
Oblivians,
The Sound,
Bobby Hutcherson,
Visionaries,LMNO, T- Love & Iriscience,
Sugar Minott,
Tears for Fears,
New York Dolls,
Livin' Joy,
cv313,
The Star Department,
Red Lorry Yellow Lorry,
Kaleidoscope,
Severed Heads,
Peter & Gordon,
Sun Ra,
Fatback Band,
The Skatalites,
The Invisible,
The Gun Club,
Eric B and Rakim,
Janne Schatter,
The Golliwogs,
Excepter,
Cymande,
Soul Sonic Force,
Television Personalities,
Faraquet,
Bluetip,
Bobby Byrd,
Throbbing Gristle,
Marvin Gaye,
Grey Daturas,
Depeche Mode,
CMW,
Japan,
Television,
Junior Murvin,
Grandmaster Flash and the Furious Five,
The Victims,
Pharoah Sanders,
Alphaville,
The Wake,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.