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 Netherlands and from Lagos.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Madrid and Accra.
I'm losing my edge to the art-school Lille 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 harpsichord 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 Gang Gang Dance to the electroclash kids.
I played it at the Astoria.
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 Joy Division. All the underground hits.
All Reuben Wilson tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
The Blackbyrds,
Gregory Isaacs,
Electric Prunes,
Leonard Cohen,
Suburban Knight,
Stiv Bators,
Yusef Lateef,
Lonnie Liston Smith,
the Swans,
Panda Bear,
The Monochrome Set,
Subhumans,
Skarface,
Public Image Ltd.,
The Grass Roots,
Franke,
The Tremeloes,
James Chance & The Contortions,
Nick Cave & The Bad Seeds,
Das Ding,
Niagra,
Kenny Larkin,
EPMD,
U.S. Maple,
Spoonie Gee,
La Düsseldorf,
T.S.O.L.,
The Trojans,
Desert Stars,
The Neon Judgement,
Make Up,
Nas,
Erykah Badu,
Lou Reed,
Graham Central Station,
Black Sheep,
The Victims,
Gang of Four,
Eli Mardock,
Angry Samoans,
Pussy Galore,
Moby Grape,
Camron Feat. Memphis Bleek And Beenie Seigel,
Mark Hollis,
Royal Trux,
Wire,
Hardrive,
Arthur Verocai,
Skriet,
Peter and Kerry,
The Beau Brummels,
Half Japanese,
Soul Sonic Force,
The Five Americans,
10cc,
Echo & the Bunnymen,
LL Cool J,
Cymande,
Idris Muhammad,
Fifty Foot Hose,
Tropical Tobacco,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.