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 Ireland and from Houston.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Accra.
I'm losing my edge to the art-school Woodstock 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 theremin 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 Crash Course in Science to the dance kids.
I played it at the Roxy.
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 Johnny Osbourne. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every Morten Harket record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Ludus,
The Toasters,
Masters at Work,
Rowland S Howard / Lydia Lunch,
Youth Brigade,
Robert Hood,
Monolake,
The Birthday Party,
Supertramp,
Fluxion,
Delta 5,
Rufus Thomas,
Funkadelic,
Ultramagnetic MC's,
Pagans,
The Music Machine,
the Soft Cell,
Malaria!,
E-Dancer,
H. Thieme,
Kerri Chandler,
EPMD,
Con Funk Shun,
Rod Modell,
Visage,
Brand Nubian,
Gong,
Heavy D & The Boyz,
Matthew Bourne,
John Coltrane,
Gang Gang Dance,
Vaughan Mason & Crew,
Duran Duran,
Black Moon,
ABBA,
the Normal,
Goldenarms,
Lou Reed & Metallica,
Barrington Levy,
Spandau Ballet,
the Sonics,
Drive Like Jehu,
Throbbing Gristle,
The Smiths,
Gil Scott Heron,
Excepter,
Boz Scaggs,
Outsiders,
Nick Cave & The Bad Seeds,
The Barracudas,
The Count Five,
Dawn Penn,
Bobby Sherman,
Fear,
The New Christs,
Das Ding,
Aural Exciters,
Kings Of Tomorrow,
Depeche Mode,
Yazoo,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.