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 Uruguay and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1961 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Toronto.
I'm losing my edge to the art-school Jakarta 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Minny Pops to the punk kids.
I played it at the Crocodile.
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 Erasure. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Oppenheimer Analysis 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
Fela Kuti,
Japan,
Henry Cow,
Siouxsie and the Banshees,
Pagans,
Jerry Gold Smith,
H. Thieme,
Cecil Taylor,
The Sound,
the Soft Cell,
Deutsch Amerikanische Freundschaft,
U.S. Maple,
Jacob Miller,
Moby Grape,
The Modern Lovers,
Grandmaster Flash,
kango's stein massive,
Michelle Simonal,
Lebanon Hanover,
Idris Muhammad,
Procol Harum,
Strawberry Alarm Clock,
Eurythmics,
Sun Ra Arkestra,
Cluster,
Yaz,
Eli Mardock,
Oblivians,
Bluetip,
Flamin' Groovies,
B.T. Express,
Thee Headcoats,
Kevin Saunderson,
Ultramagnetic MC's,
The Doobie Brothers,
June of 44,
Outsiders,
Leonard Cohen,
Little Man,
Electric Prunes,
Spandau Ballet,
Bill Near,
Sexual Harrassment,
Los Fastidios,
Pole,
cv313,
Royal Trux,
DNA,
Altered Images,
Pulsallama,
Nick Cave & The Bad Seeds,
Y Pants,
The Gories,
Tommy Roe,
London Community Gospel Choir,
Boredoms,
Avey Tare's Slasher Flicks,
Mantronix,
Lee Hazlewood,
Crispy Ambulance,
Faust, Faust, Faust, Faust.
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.