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 Morocco and from Accra.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1977.
I'm losing my edge.
To all the kids in Milan and Manchester.
I'm losing my edge to the art-school Copenhagen 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 R.M.O. to the jazz kids.
I played it at the Crocodile.
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 DNA. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Marc Romboy vs. Booka Shade,
Nation of Ulysses,
Bang on a Can All-Stars,
Bauhaus,
Bush Tetras,
Flamin' Groovies,
Hardrive,
Liliput,
Ronnie Foster,
Lou Christie,
Desert Stars,
These Immortal Souls,
Captain Beefheart & His Magic Band,
The Count Five,
Kings Of Tomorrow,
DNA,
The New Christs,
The Mojo Men,
The Alarm Clocks,
Eurythmics,
Bluetip,
Spoonie Gee,
The Wake,
The Jesus and Mary Chain,
Kerrie Biddell,
kango's stein massive,
Echospace,
The Grass Roots,
The Dead C,
Robert Görl,
Banda Bassotti,
Pulsallama,
Ludus,
Max Romeo,
The Techniques,
The Invisible,
Livin' Joy,
Andrew Ashong & Theo Parrish,
Negative Approach,
Sad Lovers and Giants,
Index,
Carl Craig,
Pierre Henry,
Arcadia,
Lower 48,
Louis and Bebe Barron,
Lungfish,
Deutsch Amerikanische Freundschaft,
Yaz,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Bizarre Inc.,
Porter Ricks,
Isaac Hayes,
Rahsaan Roland Kirk,
Sister Nancy,
Angry Samoans,
Steve Hackett,
The Fortunes,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.