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 Swaziland and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1968 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Philadelphia.
I'm losing my edge to the art-school Jakarta 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 güiro 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 The Names to the techno kids.
I played it at Trash.
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 John Foxx. All the underground hits.
All Lafayette Afro Rock Band tracks. I heard you have a vinyl of every Section 25 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Michelle Simonal,
Nas,
Deadbeat,
The Litter,
Rekid,
Robert Hood,
Essential Logic,
Sister Nancy,
Sexual Harrassment,
Thompson Twins,
Neil Young & Crazy Horse,
Kenny Larkin,
Susan Cadogan,
Outsiders,
New Age Steppers,
Adolescents,
Radiohead,
Intrusion,
L. Decosne,
Jerry Gold Smith,
Royal Trux,
Buzzcocks,
Aaron Thompson,
Toni Rubio,
Max Romeo,
Drexciya,
Cal Tjader,
Jandek,
Fear,
the Swans,
Freddie Wadling,
The Slackers,
Malaria!,
Banda Bassotti,
The Star Department,
Blake Baxter,
Ultra Naté,
Rahsaan Roland Kirk,
Albert Ayler,
Donny Hathaway,
Throbbing Gristle,
The Blues Magoos,
Marvin Gaye,
Sixth Finger,
Dave Gahan,
Bauhaus,
The Moleskins,
The Modern Lovers,
Section 25,
Scott Walker + Sunn O))),
Sunsets and Hearts,
Babytalk,
The Birthday Party,
Magma,
It's A Beautiful Day,
The Shadows of Knight,
Stiv Bators,
Eve St. Jones,
Aloha Tigers,
Wire,
The Mojo Men,
T. Rex, T. Rex, T. Rex, T. Rex.
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.