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 Uganda and from Copenhagen.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1968 to 1974.
I'm losing my edge.
To all the kids in Tehran and Cairo.
I'm losing my edge to the art-school Mexico City 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Gil Scott-Heron & Brian Jackson to the rap 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 Max Romeo. All the underground hits.
All New Order tracks. I heard you have a vinyl of every The Index record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Teenage Jesus and the Jerks record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dave Clark Five,
Public Enemy,
Moss Icon,
T.S.O.L.,
Can,
The Happenings,
UT,
Liliput,
L. Decosne,
Procol Harum,
Jacob Miller,
Drive Like Jehu,
Harmonia,
The Sisters of Mercy,
Fear,
Gian Franco Pienzio,
Spandau Ballet,
Stockholm Monsters,
The Blues Magoos,
Main Source,
Lebanon Hanover,
Magma,
Thompson Twins,
Jeru the Damaja,
Aaron Thompson,
Chris Corsano,
Yaz,
Eyeless In Gaza,
The Black Dice,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Zero Boys,
Fifty Foot Hose,
Terror Squad Feat. Camron,
Sonny Sharrock,
The Offenders,
Laurel Aitken,
F. McDonald,
The Last Poets,
Alison Limerick,
Niagra,
Rosa Yemen,
Matthew Bourne,
R.M.O.,
Roxy Music,
Ajijia Myrayebe,
The Victims,
Robert Görl,
Susan Cadogan,
Peter Gordon & Love of Life Orchestra,
Art Ensemble Of Chicago,
Brothers Johnson,
Pharoah Sanders,
The Dead C,
KRS-One,
Bizarre Inc.,
Larry & the Blue Notes,
10cc,
Scientists,
The Moody Blues,
Morten Harket,
Adolescents,
Sun City Girls,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.