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 Saudi Arabia and from Taipei.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Salvador and Madrid.
I'm losing my edge to the art-school Philadelphia 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 sitar sounds with much patience.
I was there when Tom Verlaine 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 Toasters to the disco kids.
I played it at the Spitz.
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 Blake Baxter. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Steve Hackett,
Lungfish,
Eyeless In Gaza,
Graham Central Station,
Monolake,
The Men They Couldn't Hang,
Black Pus,
Soft Cell,
The Golliwogs,
Brand Nubian,
Rowland S Howard / Lydia Lunch,
Bluetip,
Eden Ahbez,
the Soft Cell,
Banda Bassotti,
T. Rex,
The West Coast Pop Art Experimental Band,
The Detroit Cobras,
World's Most,
Ultra Naté,
Rekid,
The Chocolate Watch Band,
Notorious BIG live in Amsterdam,
the Sonics,
Funky Four + One,
Ajijia Myrayebe,
Sight & Sound,
Organ,
Sonic Youth,
Cheater Slicks,
The Leaves,
Aloha Tigers,
Public Enemy,
David Axelrod,
Trumans Water,
Bang On A Can,
Magazine,
The Stooges,
The Sound,
Unwound,
Model 500,
Monks,
the Swans,
The Doors,
Aaron Thompson,
Ultimate Spinach,
The Evens,
The Durutti Column,
Supertramp,
Basic Channel,
Young Marble Giants,
Captain Beefheart & His Magic Band,
Frankie Knuckles,
Bootsy Collins,
Faust,
Echospace,
Godley & Creme,
Don Cherry,
Tropical Tobacco,
The Neon Judgement,
Vladislav Delay,
Camberwell Now,
The Pop Group,
Symarip, Symarip, Symarip, Symarip.
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.