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 Iraq and from Madrid.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Bremen and Columbus.
I'm losing my edge to the art-school Accra 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 2001 at the first Tiga practice in a loft in Montreal.
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 Depeche Mode to the jazz 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 Blossom Toes. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every Liaisons Dangereuses record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Misunderstood record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Von Mondo,
Unwound,
Deakin,
Angels of Light & Akron/Family,
Young Marble Giants,
The West Coast Pop Art Experimental Band,
Leonard Cohen,
Popol Vuh,
Excepter,
The Black Dice,
10cc,
Echo & the Bunnymen,
Matthew Halsall,
Judy Mowatt,
The Seeds,
Man Parrish,
Deepchord,
The Chocolate Watch Band,
Tres Demented,
Adolescents,
Severed Heads,
Sandy B,
Oneida,
John Lydon,
The Leaves,
Jeff Mills,
Rufus Thomas,
Drive Like Jehu,
Deutsch Amerikanische Freundschaft,
Boogie Down Productions,
Interpol,
the Swans,
Radiohead,
Warsaw,
Jandek,
Slave,
Scan 7,
Roy Ayers,
Man Eating Sloth,
The Pretty Things,
Gabor Szabo,
Funky Four + One,
Blake Baxter,
Jacob Miller,
Charles Mingus,
Marc Almond,
X-101,
CMW,
Robert Görl,
Chris Corsano,
Joey Negro,
ABBA,
Public Enemy,
DNA,
London Community Gospel Choir,
Mad Mike,
Delon & Dalcan,
Eve St. Jones,
New Age Steppers,
Mark Hollis,
Ken Boothe,
Dead Boys,
Aaron Thompson,
Blossom Toes,
the Sonics, the Sonics, the Sonics, the Sonics.
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.