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 Bremen.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1961 to 1971.
I'm losing my edge.
To all the kids in London and Columbus.
I'm losing my edge to the art-school Columbus 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 808 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 Au Pairs 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 The Monks. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every Albert Ayler 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 '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Mark Hollis record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
Sight & Sound,
Howard Jones,
New Age Steppers,
Ronnie Foster,
James Chance & The Contortions,
The Remains,
The Saints,
Guru Guru,
Iggy Pop,
Flipper,
James White and The Blacks,
Amon Düül,
Kerrie Biddell,
Chris & Cosey,
Funkadelic,
Bluetip,
Sarah Menescal,
Sonic Youth,
X-101,
Depeche Mode,
Bobby Byrd,
Pete Rock & C.L. Smooth,
The Gories,
the Bar-Kays,
Ten City,
The Fortunes,
Orchestral Manoeuvres in the Dark,
The Cure,
Henry Cow,
Kas Product,
Carl Craig,
Radio Birdman,
Goldenarms,
Grandmaster Flash,
Gang Green,
The Gun Club,
Ultra Naté,
Barrington Levy,
Pagans,
Mary Jane Girls,
Terror Squad Feat. Camron,
Black Bananas,
Robert Wyatt,
10cc,
Sixth Finger,
Althea and Donna,
Janne Schatter,
Gong,
The Pop Group,
Eric B and Rakim,
Joe Finger,
Soul II Soul,
These Immortal Souls,
Easy Going,
Gang Gang Dance,
Be Bop Deluxe,
Todd Rundgren,
Khruangbin,
The Moody Blues,
Qualms,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.