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 Kosovo and from Paris.
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 1975.
I'm losing my edge.
To all the kids in Shanghai and Delhi.
I'm losing my edge to the art-school Cairo 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 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 Peter & Gordon 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 Bob Dylan. All the underground hits.
All The Names tracks. I heard you have a vinyl of every Rhythim Is Rhythim record on German import.
I heard that you have a white label of every seminal grunge 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 an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your snare and bought an oboe.
I hear that you and your band have sold your oboe and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Buzzcocks,
Bobbi Humphrey,
Malaria!,
Ultravox,
Quadrant,
Magma,
Faust,
Ossler,
Anakelly,
The Gun Club,
ABBA,
Mandrill,
Scott Walker + Sunn O))),
48th St. Collective,
Jesper Dahlbäck,
T. Rex,
Bill Near,
Sonny Sharrock,
Tubeway Army,
A Certain Ratio,
Japan,
The Divine Comedy,
Rosa Yemen,
The Fugs,
Bad Manners,
Radiopuhelimet,
Janne Schatter,
Harmonia,
Index,
Magazine,
Wire,
Roy Ayers Ubiquity,
Steve Hackett,
Brass Construction,
Gary Puckett & The Union Gap,
Q and Not U,
Gang of Four,
Oneida,
Procol Harum,
Strawberry Alarm Clock,
The Gladiators,
Gil Scott-Heron and Jamie xx,
Terrestrial Tones,
Lee Hazlewood,
The Red Krayola,
Bobby Sherman,
KRS-One,
The Mighty Diamonds,
The Litter,
The Grass Roots,
Drive Like Jehu,
Toni Rubio,
Siouxsie and the Banshees,
Stetsasonic,
The Fire Engines,
The Chocolate Watch Band,
John Lydon,
Scrapy,
The Smoke,
The Trojans,
Lakeside,
Bootsy's Rubber Band,
The Leaves, The Leaves, The Leaves, The Leaves.
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.