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 Swaziland and from Lyon.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Bologna.
I'm losing my edge to the art-school Portland 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 808 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 Deadbeat to the dance kids.
I played it at Trash.
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 Quando Quango. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
The Beau Brummels,
Moebius,
The Smoke,
Scrapy,
The Angels of Light,
F. McDonald,
Avey Tare's Slasher Flicks,
Chris Corsano,
Selector Dub Narcotic,
Nick Cave & The Bad Seeds,
Steve Hackett,
Blancmange,
Rowland S Howard / Lydia Lunch,
Desert Stars,
Fear,
Nation of Ulysses,
Sugar Minott,
Shuggie Otis,
Alton Ellis,
Ponytail,
Faraquet,
Stereo Dub,
The Busters,
Half Japanese,
Peter Gordon & Love of Life Orchestra,
Camron Feat. Jay Z And Juelz,
Girls At Our Best!,
The Mighty Diamonds,
Pere Ubu,
Circle Jerks,
Max Romeo,
Swans,
New Age Steppers,
Marmalade,
Tim Buckley,
Sam Rivers,
Roy Ayers,
Tears for Fears,
Gong,
Jesper Dahlbäck,
The Blues Magoos,
Von Mondo,
Lalo Schifrin,
China Crisis,
Outsiders,
Crispian St. Peters,
Aswad,
Avey Tare,
The Index,
Robert Wyatt,
Peter and Kerry,
Gerry Rafferty,
Sonny Sharrock,
Crash Course in Science,
Essential Logic,
Lee Hazlewood,
Quantec,
James White and The Blacks,
D'Angelo,
Cluster,
Public Enemy,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.