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 Syria and from Glasgow.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 Taipei.
I'm losing my edge to the art-school Johannesburg 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 organ 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 Eric Copeland to the dance 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 Depeche Mode. All the underground hits.
All AZ tracks. I heard you have a vinyl of every MDC record on German import.
I heard that you have a white label of every seminal jazz 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 güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy 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?
48th St. Collective,
Black Sheep,
Franke,
Cabaret Voltaire,
Warren Ellis,
Sad Lovers and Giants,
Man Eating Sloth,
Lakeside,
The Moody Blues,
Monks,
Teenage Jesus and the Jerks,
Malaria!,
Captain Beefheart & His Magic Band,
The Raincoats,
the Soft Cell,
Shoche,
Peter Gordon & Love of Life Orchestra,
Robert Hood,
Marine Girls,
Model 500,
10cc,
Jeru the Damaja,
Fear,
Liaisons Dangereuses,
The Five Americans,
Lebanon Hanover,
Jeff Lynne,
Liliput,
Kings Of Tomorrow,
Drexciya,
R.M.O.,
Beasts of Bourbon,
Arthur Verocai,
Magma,
Hashim,
Mark Hollis,
Ludus,
Heavy D & The Boyz,
The Dave Clark Five,
the Normal,
Technova,
Angels of Light & Akron/Family,
Half Japanese,
Amon Düül,
Audionom,
Cameo,
Blake Baxter,
Second Layer,
Pylon,
Gian Franco Pienzio,
This Heat,
The Sisters of Mercy,
ABBA,
Tomorrow,
Royal Trux,
The Toasters,
Buzzcocks,
The Count Five,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.