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 Bhutan and from Tehran.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1966 to 1975.
I'm losing my edge.
To all the kids in Lille and Winnipeg.
I'm losing my edge to the art-school Bremen 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Popol Vuh to the techno 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 The Trojans. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Richard Hell and the Voidoids,
Throbbing Gristle,
Subhumans,
MDC,
the Normal,
Von Mondo,
The Shadows of Knight,
Khruangbin,
Can,
The Blues Magoos,
Gichy Dan,
Mars,
a-ha,
Big Daddy Kane,
The Doors,
The Alarm Clocks,
E-Dancer,
Peter & Gordon,
Urselle,
Ultra Naté,
Chrome,
The Names,
Unrelated Segments,
Bang on a Can All-Stars,
Kayak,
Liaisons Dangereuses,
Toni Rubio,
Hardrive,
Wasted Youth,
Roxy Music,
Harmonia,
Lightning Bolt,
Gil Scott-Heron and Jamie xx,
Tres Demented,
Ice-T,
JFA,
Deakin,
Gastr Del Sol,
Lonnie Liston Smith,
Avey Tare's Slasher Flicks,
Radiohead,
Whodini,
Q65,
Bobby Sherman,
Minutemen,
Pussy Galore,
Quadrant,
L. Decosne,
Marc Romboy vs. Booka Shade,
Eric Copeland,
Porter Ricks,
The Slackers,
Adolescents,
Intrusion,
Liliput,
The Peanut Butter Conspiracy,
Lalann,
The Searchers,
Sun Ra Arkestra,
The Buckinghams,
Section 25,
Bob Dylan,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.