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 Sierra Leone and from Philadelphia.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Edmonton.
I'm losing my edge to the art-school Winnipeg 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 mellotron 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 Tim Buckley to the electroclash kids.
I played it at the Troubador.
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 Au Pairs. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal rap 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 snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
The Move,
Susan Cadogan,
Bob Dylan,
Parry Music,
Cecil Taylor,
Scientists,
Siglo XX,
Sun Ra,
The Men They Couldn't Hang,
Barry Ungar,
Godley & Creme,
Alice Coltrane,
Darondo,
Bronski Beat,
The Slits,
Soft Machine,
FM Einheit,
The Golliwogs,
Reuben Wilson,
Barrington Levy,
Gil Scott-Heron & Brian Jackson,
Pierre Henry,
Suburban Knight,
Tubeway Army,
Lou Christie,
The Mighty Diamonds,
John Coltrane,
Derrick May,
Nirvana,
Mo-Dettes,
Kauko Röyhkä ja Narttu,
It's A Beautiful Day,
Audionom,
Mark Hollis,
Crispy Ambulance,
Rowland S Howard / Lydia Lunch,
DJ Sneak,
Lalann,
The Peanut Butter Conspiracy,
Sex Pistols,
Bobby Byrd,
The Names,
X-Ray Spex,
The Five Americans,
The Detroit Cobras,
Colin Newman,
Al Stewart,
Piero Umiliani,
The Cure,
Eden Ahbez,
Selector Dub Narcotic,
John Cale,
Pete Rock & C.L. Smooth,
Ohio Players,
Basic Channel,
Crispian St. Peters,
Jeff Mills,
Gerry Rafferty,
Gichy Dan,
Second Layer,
Masters at Work,
the Slits, the Slits, the Slits, the Slits.
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.