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 Mali and from New York.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Stockholm.
I'm losing my edge to the art-school Beijing 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 güiro sounds with much patience.
I was there when Holger Czukay 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 Wasted Youth to the disco kids.
I played it at the Spitz.
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 Avey Tare. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Shuggie Otis record on German import.
I heard that you have a white label of every seminal funk 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 harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Steve Hackett,
The Music Machine,
Eli Mardock,
La Düsseldorf,
Gregory Isaacs,
Sparks,
Scott Walker + Sunn O))),
Jesper Dahlbäck,
Sunsets and Hearts,
L. Decosne,
John Cale,
Terrestrial Tones,
Alison Limerick,
The New Christs,
The Motions,
Fugazi,
the Bar-Kays,
Kaleidoscope,
Gastr Del Sol,
The Litter,
Sonic Youth,
Mark Hollis,
Lakeside,
Depeche Mode,
Yazoo,
Boz Scaggs,
Super Lover Cee & Casanova Rud,
Infiniti,
The Last Poets,
The Angels of Light,
The Monks,
Saccharine Trust,
Erasure,
The Smiths,
David Axelrod,
Country Joe & The Fish,
Cal Tjader,
The Toasters,
Goldenarms,
Harmonia,
The J.B.'s,
Henry Cow,
Bill Wells,
Grey Daturas,
Morten Harket,
Marc Almond,
DeepChord presents Echospace,
Bobby Byrd,
Blake Baxter,
Magazine,
The Men They Couldn't Hang,
MDC,
A Flock of Seagulls,
Marcia Griffiths,
Danielle Patucci,
Flash Fearless,
B.T. Express,
Spandau Ballet,
The Tremeloes,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Red Krayola,
Jawbox,
Boredoms, Boredoms, Boredoms, Boredoms.
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.