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 Moldova and from Bremen.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Spokane and Hong Kong.
I'm losing my edge to the art-school Stockholm 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 1968 at the first Can practice in a loft in Cologne.
I was working on the arpeggiator 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 Mad Mike to the jazz 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 Fluxion. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every Clear Light record on German import.
I heard that you have a white label of every seminal dance 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 harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
Can,
Cabaret Voltaire,
La Düsseldorf,
Black Moon,
Harry Pussy,
Rapeman,
Hoover,
Sam Rivers,
The Jesus and Mary Chain,
Aaron Thompson,
Rotary Connection,
Brass Construction,
Saccharine Trust,
Subhumans,
CMW,
U.S. Maple,
Faraquet,
Camberwell Now,
Mad Mike,
The Modern Lovers,
Be Bop Deluxe,
Eric Dolphy,
Kas Product,
Tears for Fears,
Roxette,
Black Sheep,
Blancmange,
June Days,
Theoretical Girls,
Deepchord,
The Mummies,
Fear,
Max Romeo,
Sparks,
Gang of Four,
China Crisis,
A Flock of Seagulls,
Alphaville,
The Vogues,
Rekid,
The Busters,
John Holt,
The Moody Blues,
Cybotron,
Pharoah Sanders,
The Index,
kango's stein massive,
Wasted Youth,
The Fortunes,
Ultramagnetic MC's,
Johnny Clarke,
Fugazi,
The Dave Clark Five,
The West Coast Pop Art Experimental Band,
The Dirtbombs,
X-102,
Barclay James Harvest,
Scan 7,
Lou Reed & Metallica,
Nico,
Jawbox,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.