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 Slovakia and from Milan.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Salvador.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the linndrum sounds with much patience.
I was there when Robert Palmer 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 Blackbyrds to the punk 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 London Community Gospel Choir. All the underground hits.
All Black Flag tracks. I heard you have a vinyl of every Faraquet record on German import.
I heard that you have a white label of every seminal rock 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 clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
Barrington Levy,
The Peanut Butter Conspiracy,
Gichy Dan,
Sparks,
Trumans Water,
Pharoah Sanders,
It's A Beautiful Day,
Nirvana,
Crispy Ambulance,
Theoretical Girls,
The Litter,
Be Bop Deluxe,
Kas Product,
Cluster,
The Motions,
Black Moon,
Aaron Thompson,
Peter Gordon & Love of Life Orchestra,
Althea and Donna,
UT,
Chris & Cosey,
Echospace,
A Flock of Seagulls,
Con Funk Shun,
Public Image Ltd.,
Eli Mardock,
Robert Görl,
James Chance & The Contortions,
Hot Snakes,
Scan 7,
Grauzone,
John Cale,
Carl Craig,
Tim Buckley,
Darondo,
Hoover,
Yaz,
Judy Mowatt,
Royal Trux,
Amon Düül II,
Basic Channel,
Albert Ayler,
Deadbeat,
Flamin' Groovies,
Sugar Minott,
Buzzcocks,
The Black Dice,
Deutsch Amerikanische Freundschaft,
Gang of Four,
Bang On A Can,
Pete Rock & C.L. Smooth,
Franke,
Stiv Bators,
X-Ray Spex,
Skarface,
the Bar-Kays,
Warsaw,
Boz Scaggs,
Von Mondo,
F. McDonald, F. McDonald, F. McDonald, F. McDonald.
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.