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 Kuwait and from Philadelphia.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1973.
I'm losing my edge.
To all the kids in Tokyo and Houston.
I'm losing my edge to the art-school Lyon 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 guitar 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 Stetsasonic to the crunk kids.
I played it at the Troubador.
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 Sunsets and Hearts. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
A Certain Ratio,
Newcleus,
The Busters,
The Alarm Clocks,
The Smoke,
Agitation Free,
R.M.O.,
Alphaville,
The Searchers,
Monks,
Glambeats Corp.,
The Selecter,
John Holt,
Gang Starr,
Nick Fraelich,
Chris & Cosey,
Mad Mike,
Bob Dylan,
Lungfish,
Be Bop Deluxe,
Soul Sonic Force,
DJ Style,
Model 500,
Siouxsie and the Banshees,
DJ Sneak,
James Chance & The Contortions,
The Tremeloes,
Godley & Creme,
A Flock of Seagulls,
The Fuzztones,
Angry Samoans,
Aswad,
Jesper Dahlback,
Alice Coltrane,
The Move,
The Detroit Cobras,
Röyhkä ja Rättö ja Lehtisalo,
David Bowie,
Juan Atkins,
Skriet,
Joe Finger,
Scott Walker + Sunn O))),
Schoolly D,
Niagra,
8 Eyed Spy,
Red Lorry Yellow Lorry,
Skaos,
It's A Beautiful Day,
The Red Krayola,
The Neon Judgement,
Japan,
Lower 48,
Symarip,
X-Ray Spex,
Kerrie Biddell,
Camron Feat. Jay Z And Juelz,
Morten Harket,
Cecil Taylor,
Ultravox,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.