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 Lithuania and from London.
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 1973.
I'm losing my edge.
To all the kids in New York and Johannesburg.
I'm losing my edge to the art-school Copenhagen 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Fugs to the jazz 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 Chris Corsano. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every R.M.O. record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a New York Dolls record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
Massinfluence,
Robert Wyatt,
The Durutti Column,
Section 25,
The Electric Prunes,
Dawn Penn,
Au Pairs,
Zero Boys,
Gerry Rafferty,
Model 500,
Lindisfarne,
The West Coast Pop Art Experimental Band,
DNA,
Delta 5,
Carl Craig,
The Fire Engines,
Barrington Levy,
Brothers Johnson,
Bluetip,
Fort Wilson Riot,
Sugar Minott,
Adolescents,
The New Christs,
The Victims,
The Barracudas,
48th St. Collective,
Tres Demented,
The Fuzztones,
Circle Jerks,
Wally Richardson,
Captain Beefheart & His Magic Band,
The Cosmic Jokers,
Oppenheimer Analysis,
The Gories,
Kevin Saunderson,
The Pop Group,
Eurythmics,
Lou Reed & John Cale,
Fluxion,
Bill Wells,
Average White Band,
H. Thieme,
Little Man,
Scientists,
Thinking Fellers Union Local 282,
Main Source,
Vainqueur,
Monks,
The Jesus and Mary Chain,
Donny Hathaway,
Saccharine Trust,
Todd Terry,
Q65,
The Leaves,
Louis and Bebe Barron,
The Knickerbockers,
The Associates,
Ken Boothe,
The Kinks,
Goldenarms,
China Crisis, China Crisis, China Crisis, China Crisis.
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.