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 St Lucia and from Toronto.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1962 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Mumbai.
I'm losing my edge to the art-school Madrid 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 chamberlin 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 The Star Department to the grunge kids.
I played it at the 40 Watt.
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 Notorious BIG live in Amsterdam. All the underground hits.
All Spoonie Gee tracks. I heard you have a vinyl of every Judy Mowatt record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your sitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
Crispian St. Peters,
Godley & Creme,
Gil Scott-Heron and Jamie xx,
The Motions,
Deadbeat,
Wighnomy Brothers & Robag Wruhme,
E-Dancer,
Magazine,
The Pop Group,
Max Romeo,
Glambeats Corp.,
Pantytec,
Scott Walker + Sunn O))),
Michelle Simonal,
Scion,
Slick Rick,
Pharoah Sanders,
Khruangbin,
The Litter,
Sun Ra Arkestra,
The Star Department,
Ossler,
Peter and Kerry,
Sister Nancy,
Kings Of Tomorrow,
Livin' Joy,
Peter & Gordon,
Gian Franco Pienzio,
Danielle Patucci,
Royal Trux,
A Certain Ratio,
Sarah Menescal,
Nas,
Jerry Gold Smith,
Sixth Finger,
Strawberry Alarm Clock,
Louis and Bebe Barron,
Art Ensemble Of Chicago,
Andrew Ashong & Theo Parrish,
Radio Birdman,
Tropical Tobacco,
Gil Scott Heron,
Eli Mardock,
The Human League,
Youth Brigade,
Marc Romboy vs. Booka Shade,
Soulsonic Force,
Black Flag,
The Detroit Cobras,
The Index,
Stiv Bators,
Colin Newman,
Super Lover Cee & Casanova Rud,
The Dead C,
Nik Kershaw,
Scratch Acid,
Soul Sonic Force,
Beasts of Bourbon,
The Black Dice,
Rod Modell,
Bauhaus,
Public Image Ltd.,
Soul II Soul, Soul II Soul, Soul II Soul, Soul II Soul.
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.