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 Uzbekistan and from Columbus.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1965 to 1979.
I'm losing my edge.
To all the kids in Lille and Columbus.
I'm losing my edge to the art-school Bremen 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 arpeggiator 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 Minutemen to the jazz kids.
I played it at the 40 Watt.
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 Nick Fraelich. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every Wire record on German import.
I heard that you have a white label of every seminal dance 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 theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Organ record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Con Funk Shun,
Wire,
The Durutti Column,
Camouflage,
Los Fastidios,
Altered Images,
Rapeman,
AZ,
Ultramagnetic MC's,
Spandau Ballet,
10cc,
The Real Kids,
Bauhaus,
New York Dolls,
Jesper Dahlbäck,
Jeru the Damaja,
Von Mondo,
Liliput,
The Remains,
ABC,
Susan Cadogan,
Reagan Youth,
Dave Gahan,
Maurizio,
Arab on Radar,
Flash Fearless,
Ronnie Foster,
Deepchord,
Wally Richardson,
Avey Tare's Slasher Flicks,
Anakelly,
H. Thieme,
Bizarre Inc.,
Scott Walker,
Kas Product,
Sound Behaviour,
Joe Smooth,
Tears for Fears,
Colin Newman,
Mantronix,
Cybotron,
Carl Craig,
Easy Going,
The Kinks,
Crash Course in Science,
Hasil Adkins,
Pagans,
Lalann,
The Motions,
Pussy Galore,
Mandrill,
Judy Mowatt,
Bobby Hutcherson,
The Fortunes,
Albert Ayler,
Manfred Mann's Earth Band,
The Barracudas,
Roxette,
Kings Of Tomorrow,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.