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 Paraguay and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Spokane and Sao Paulo.
I'm losing my edge to the art-school Sao Paulo 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 1978 at the first Visage practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 David Axelrod to the funk kids.
I played it at CBGB's.
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 Neu!. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Motorama record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
the Association,
Ultravox,
Davy DMX,
Echospace,
The Gories,
Peter Gordon & Love of Life Orchestra,
Bill Near,
Scion,
the Germs,
Gang Green,
Tom Boy,
Young Marble Giants,
Banda Bassotti,
Gian Franco Pienzio,
Negative Approach,
FM Einheit,
The Evens,
Talk Talk,
Ronan,
E-Dancer,
Radio Birdman,
Guru Guru,
Strawberry Alarm Clock,
The Zeros,
John Cale,
Bobby Womack,
Marc Almond,
Heaven 17,
The Dave Clark Five,
Girls At Our Best!,
Grandmaster Flash,
The Men They Couldn't Hang,
Dead Boys,
The Black Dice,
Electric Prunes,
Main Source,
Pet Shop Boys,
Ultra Naté,
Qualms,
Buzzcocks,
Flamin' Groovies,
48th St. Collective,
Nico,
Shuggie Otis,
Terror Squad Feat. Camron,
Spandau Ballet,
8 Eyed Spy,
Ken Boothe,
Brass Construction,
The Happenings,
the Slits,
Joyce Sims,
H. Thieme,
Visionaries,LMNO, T- Love & Iriscience,
Lungfish,
Panda Bear,
Clear Light,
Section 25,
The Pop Group,
Pylon,
Mission of Burma,
Archie Shepp,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.