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 Belarus and from Houston.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Salvador.
I'm losing my edge to the art-school Toronto 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 mellotron sounds with much patience.
I was there when Donald Fagen 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 Throbbing Gristle to the grunge kids.
I played it at the Spitz.
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 Lebanon Hanover. All the underground hits.
All Iggy Pop tracks. I heard you have a vinyl of every The Evens record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
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 Fort Wilson Riot record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delon & Dalcan,
The United States of America,
Jeff Mills,
Unwound,
Crime,
the Soft Cell,
DJ Style,
Pole,
Oblivians,
Livin' Joy,
Stockholm Monsters,
Main Source,
The Fall,
Sad Lovers and Giants,
Röyhkä ja Rättö ja Lehtisalo,
Bauhaus,
Public Image Ltd.,
Cluster,
John Cale,
Siouxsie and the Banshees,
Red Lorry Yellow Lorry,
Monks,
F. McDonald,
James Chance & The Contortions,
Thompson Twins,
Minor Threat,
Pierre Henry,
Y Pants,
The Zeros,
Tears for Fears,
Bill Near,
The Cowsills,
Jesper Dahlbäck,
The Knickerbockers,
Curtis Mayfield,
Von Mondo,
Robert Görl,
Yazoo,
These Immortal Souls,
The Victims,
Ronan,
The Slackers,
Organ,
Radiopuhelimet,
Gary Puckett & The Union Gap,
Blancmange,
Kauko Röyhkä ja Narttu,
Rites of Spring,
Blossom Toes,
kango's stein massive,
Crash Course in Science,
The Five Americans,
The Human League,
Alton Ellis,
Cabaret Voltaire,
Fear,
The Vogues,
Skaos,
Marshall Jefferson,
Jesper Dahlback,
Howard Jones,
UT, UT, UT, UT.
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.