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 Sweden and from Lille.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Milan and Seoul.
I'm losing my edge to the art-school Lagos 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 clarinet sounds with much patience.
I was there when Holger Czukay 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 Pantaleimon to the rock kids.
I played it at Cafe Wha.
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 Second Layer. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Negative Approach record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
Judy Mowatt,
Pharoah Sanders,
Rhythim Is Rhythim,
The Fuzztones,
The Men They Couldn't Hang,
Nick Fraelich,
Be Bop Deluxe,
Notorious BIG live in Amsterdam,
KRS-One,
Yusef Lateef,
Sad Lovers and Giants,
Marmalade,
Oblivians,
Ash Ra Tempel,
Simply Red,
Stockholm Monsters,
Half Japanese,
Crooked Eye,
Mars,
The Wake,
Maleditus Sound,
The Move,
Bronski Beat,
Gabor Szabo,
The Gladiators,
The Walker Brothers,
Qualms,
Fifty Foot Hose,
Moss Icon,
Scott Walker,
Godley & Creme,
Flash Fearless,
Thee Headcoats,
Camouflage,
The Fire Engines,
Theoretical Girls,
K-Klass,
Cecil Taylor,
Alton Ellis,
Roy Ayers,
Niagra,
The Tremeloes,
the Slits,
The Durutti Column,
Stetsasonic,
Zapp,
Loose Ends,
Sun Ra,
Scientists,
Joey Negro,
Letta Mbulu,
the Association,
Bang On A Can,
Subhumans,
Suburban Knight,
Pulsallama,
Ultimate Spinach,
Underground Resistance,
Pere Ubu,
The Cramps, The Cramps, The Cramps, The Cramps.
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.