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 Guinea and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Sao Paulo.
I'm losing my edge to the art-school Tokyo 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the arpeggiator 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 The Human League to the grunge 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 Bad Manners. All the underground hits.
All Surgeon tracks. I heard you have a vinyl of every The Happenings 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
Althea and Donna,
Harpers Bizarre,
Swans,
The Modern Lovers,
The Durutti Column,
Ash Ra Tempel,
Tropical Tobacco,
The Gories,
Letta Mbulu,
Pete Rock & C.L. Smooth,
Ten City,
the Swans,
Dave Gahan,
The Moody Blues,
Fifty Foot Hose,
The Cowsills,
Groovy Waters,
Dual Sessions,
Sad Lovers and Giants,
Soft Machine,
Banda Bassotti,
Sandy B,
Kerrie Biddell,
Schoolly D,
The Beau Brummels,
Todd Terry,
The Count Five,
Brand Nubian,
David Axelrod,
Altered Images,
Infiniti,
Ultra Naté,
Pussy Galore,
Radio Birdman,
Underground Resistance,
Black Pus,
Gastr Del Sol,
John Cale,
Bobby Womack,
Motorama,
U.S. Maple,
B.T. Express,
Matthew Bourne,
Rhythim Is Rhythim,
Darondo,
The Index,
Robert Hood,
Neil Young & Crazy Horse,
Susan Cadogan,
The Searchers,
Nirvana,
Talk Talk,
The Gun Club,
Pole,
Robert Görl,
Unrelated Segments,
Sight & Sound,
The Sound,
ABBA,
T. Rex,
The Toasters,
Thompson Twins,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.