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 Belize and from Glasgow.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Halifax and Manchester.
I'm losing my edge to the art-school Manila 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 808 sounds with much patience.
I was there when Lou Reed 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 Reagan Youth to the grunge 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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every The Standells 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Groovy Waters,
Spandau Ballet,
Pharoah Sanders,
The Smoke,
Susan Cadogan,
Dead Boys,
Man Parrish,
Pagans,
DJ Style,
Bobby Byrd,
Bootsy Collins,
The Alarm Clocks,
MDC,
The Zeros,
Boz Scaggs,
Pet Shop Boys,
Kayak,
Flash Fearless,
Cluster,
Fad Gadget,
Schoolly D,
Nirvana,
Parry Music,
Crooked Eye,
The Cramps,
Gabor Szabo,
Kool Moe Dee,
Minnie Riperton,
Arthur Verocai,
Lungfish,
Jeff Lynne,
It's A Beautiful Day,
Harpers Bizarre,
Brand Nubian,
Slave,
Michelle Simonal,
Curtis Mayfield,
Aural Exciters,
Ossler,
Faraquet,
Pantaleimon,
Maurizio,
Angry Samoans,
Lower 48,
Steve Hackett,
Tres Demented,
Lindisfarne,
Dr. Dre and Snoop Doggy Dog,
Mo-Dettes,
Captain Beefheart & His Magic Band,
John Lydon,
Cameo,
Red Lorry Yellow Lorry,
Warsaw,
Con Funk Shun,
EPMD,
Roxette,
the Normal,
Absolute Body Control,
Audionom,
Negative Approach,
Buzzcocks,
Marc Romboy vs. Booka Shade,
Maleditus Sound,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.