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 Zambia and from Portland.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1978.
I'm losing my edge.
To all the kids in Manila and Glasgow.
I'm losing my edge to the art-school Shanghai 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 sitar 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 Au Pairs to the rap 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 Eurythmics. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Mad Mike 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Pussy Galore record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Depeche Mode,
Susan Cadogan,
Public Enemy,
Half Japanese,
Bluetip,
Stetsasonic,
Donald Byrd,
Los Fastidios,
Pylon,
The Skatalites,
Josef K,
Sad Lovers and Giants,
Oppenheimer Analysis,
The Golliwogs,
The Index,
Oblivians,
Lalann,
Jawbox,
Yazoo,
Deakin,
Notorious BIG live in Amsterdam,
Index,
Mission of Burma,
Barclay James Harvest,
Pantytec,
The Slits,
Dawn Penn,
Interpol,
Gerry Rafferty,
Bill Wells,
Hashim,
Surgeon,
Don Cherry,
The West Coast Pop Art Experimental Band,
The New Christs,
Bootsy's Rubber Band,
Wire,
Rapeman,
The Smoke,
Blancmange,
Piero Umiliani,
Boz Scaggs,
Oneida,
Lungfish,
Pantaleimon,
Peter & Gordon,
Traffic Nightmare,
John Foxx,
Graham Central Station,
Echo & the Bunnymen,
DJ Style,
Mandrill,
The Monochrome Set,
Harry Pussy,
Sunsets and Hearts,
Schoolly D,
Eddi Front,
Liliput,
Minor Threat,
The J.B.'s,
James Chance & The Contortions,
Flamin' Groovies,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.