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 Solomon Islands and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Columbus and Madrid.
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 rhodes 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 Bizarre Inc. to the techno kids.
I played it at the Hacienda.
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 Schoolly D. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Public Image Ltd. record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Cowsills record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Cybotron,
Pete Rock & C.L. Smooth,
Slave,
Rotary Connection,
T.S.O.L.,
The Gun Club,
Buzzcocks,
Kas Product,
Agitation Free,
Lightning Bolt,
Ralphi Rosario,
Gil Scott Heron,
Bill Near,
Juan Atkins,
Ultravox,
Todd Terry,
Grandmaster Flash and the Furious Five,
Major Organ And The Adding Machine,
Neil Young,
David McCallum,
Alphaville,
DNA,
Susan Cadogan,
The Happenings,
Parry Music,
Kayak,
Icehouse,
Main Source,
The Techniques,
Black Sheep,
The Sound,
LL Cool J,
Andrew Hill,
a-ha,
Patti Smith,
Das Ding,
Black Bananas,
Porter Ricks,
Danielle Patucci,
Monolake,
Lindisfarne,
Jerry Gold Smith,
Gil Scott-Heron & Brian Jackson,
Ossler,
Funky Four + One,
Warren Ellis,
8 Eyed Spy,
Jandek,
The Gap Band,
Robert Wyatt,
Intrusion,
Smog,
The Smoke,
X-101,
The Cosmic Jokers,
Procol Harum,
Byron Stingily,
Curtis Mayfield,
Barrington Levy,
Minor Threat,
the Slits,
Minnie Riperton,
Tropical Tobacco, Tropical Tobacco, Tropical Tobacco, Tropical Tobacco.
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.