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 South Africa and from Mexico City.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1970.
I'm losing my edge.
To all the kids in Johannesburg and Salvador.
I'm losing my edge to the art-school Glasgow 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Boredoms to the disco kids.
I played it at the Astoria.
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 Association. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Joyce Sims record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
Alphaville,
ABC,
The Durutti Column,
The Gun Club,
Visionaries,LMNO, T- Love & Iriscience,
Super Lover Cee & Casanova Rud,
Sixth Finger,
The Red Krayola,
Art Ensemble Of Chicago,
Maleditus Sound,
Negative Approach,
Basic Channel,
Rosa Yemen,
Liliput,
Excepter,
Major Organ And The Adding Machine,
Traffic Nightmare,
Con Funk Shun,
Ituana,
Supertramp,
The Invisible,
Archie Shepp,
Kas Product,
B.T. Express,
Skriet,
Monks,
Captain Beefheart & His Magic Band,
Jawbox,
Brass Construction,
X-Ray Spex,
Althea and Donna,
Eyeless In Gaza,
It's A Beautiful Day,
Ohio Players,
The Dead C,
Hashim,
Pere Ubu,
FM Einheit,
Guru Guru,
Spoonie Gee,
X-101,
Ornette Coleman,
The Human League,
Ultramagnetic MC's,
Crime,
Sparks,
Peter Gordon & Love of Life Orchestra,
Accadde A,
Jeff Mills,
Funky Four + One,
Japan,
ABBA,
Black Pus,
Ossler,
Angry Samoans,
The Trojans,
Eli Mardock,
Dorothy Ashby,
JFA,
Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines.
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.