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 Tuvalu and from Mexico City.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Copenhagen.
I'm losing my edge to the art-school Bremen 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 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 Boz Scaggs to the electroclash kids.
I played it at the Astoria.
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 Accadde A. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Franke record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Michelle Simonal record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
Josef K,
Boz Scaggs,
Alphaville,
Barrington Levy,
Con Funk Shun,
Television,
Mission of Burma,
Morten Harket,
New Order,
The Gap Band,
Terror Squad Feat. Camron,
Slave,
Neil Young,
Section 25,
Kenny Larkin,
Newcleus,
Peter Gordon & Love of Life Orchestra,
10cc,
Harpers Bizarre,
Little Man,
Eric Copeland,
Loose Ends,
Chris Corsano,
Jacques Brel,
Lou Reed & John Cale,
Dual Sessions,
Minny Pops,
Von Mondo,
Surgeon,
Blake Baxter,
Susan Cadogan,
X-102,
Siglo XX,
KRS-One,
Roxy Music,
DJ Style,
L. Decosne,
Gang of Four,
Isaac Hayes,
Bobbi Humphrey,
Faraquet,
Spandau Ballet,
Kas Product,
Bob Dylan,
The Names,
Sex Pistols,
Arcadia,
Bill Near,
Barry Ungar,
The Standells,
Nick Cave & The Bad Seeds,
Davy DMX,
The Selecter,
Orchestral Manoeuvres in the Dark,
Quando Quango,
Minnie Riperton,
Gong,
Chrome,
Grandmaster Flash and the Furious Five,
Scott Walker,
Sandy B,
Make Up,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.