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 Vanuatu and from Toronto.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Portland and Manchester.
I'm losing my edge to the art-school Bologna 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Grauzone to the techno 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 The Associates. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every Boz Scaggs record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skaos,
Sex Pistols,
Monks,
Jeru the Damaja,
Gong,
Flipper,
Big Daddy Kane,
Marshall Jefferson,
Lou Reed & Metallica,
The American Breed,
Pole,
DNA,
the Fania All-Stars,
U.S. Maple,
Severed Heads,
Gang Starr,
John Foxx,
Gil Scott-Heron and Jamie xx,
Vainqueur,
Notorious Big And Bone Thugs,
a-ha,
Can,
The Count Five,
Harry Pussy,
A Flock of Seagulls,
Orchestral Manoeuvres in the Dark,
Deakin,
Glambeats Corp.,
Lyres,
The Pop Group,
The Men They Couldn't Hang,
Jeff Mills,
Excepter,
Super Lover Cee & Casanova Rud,
World's Most,
PIL,
Agent Orange,
The Smoke,
Wings,
Thompson Twins,
Avey Tare's Slasher Flicks,
Röyhkä ja Rättö ja Lehtisalo,
Roger Hodgson,
Sad Lovers and Giants,
The Blues Magoos,
Warren Ellis,
Infiniti,
Pierre Henry,
The J.B.'s,
Michelle Simonal,
Au Pairs,
Barry Ungar,
EPMD,
Bill Near,
Kurtis Blow,
UT,
James Chance & The Contortions,
Porter Ricks,
A Certain Ratio,
Judy Mowatt,
Altered Images,
Throbbing Gristle,
Marc Almond,
Metal Thangz,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.