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 Canada and from Johannesburg.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1976.
I'm losing my edge.
To all the kids in New York and Sao Paulo.
I'm losing my edge to the art-school Madrid 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 David Bowie 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 Saccharine Trust to the disco kids.
I played it at the Hacienda.
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 Thompson Twins. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every Joe Smooth record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Faust,
Ultravox,
Bizarre Inc.,
A Flock of Seagulls,
Roxy Music,
The Martian,
Eddi Front,
The Five Americans,
Ponytail,
Skriet,
Basic Channel,
Royal Trux,
Pete Rock & C.L. Smooth,
Grandmaster Flash,
Sarah Menescal,
X-102,
Marine Girls,
Cheater Slicks,
Underground Resistance,
Arcadia,
Morten Harket,
Fear,
Notorious BIG live in Amsterdam,
Gary Puckett & The Union Gap,
David McCallum,
Barbara Tucker,
Andrew Hill,
Mandrill,
Red Lorry Yellow Lorry,
Pantaleimon,
These Immortal Souls,
Tim Buckley,
Strawberry Alarm Clock,
Kauko Röyhkä ja Narttu,
Robert Hood,
Siouxsie and the Banshees,
Suicide,
London Community Gospel Choir,
Henry Cow,
Marc Almond,
James Chance & The Contortions,
Bang On A Can,
Con Funk Shun,
Lower 48,
Marmalade,
The Associates,
Avey Tare's Slasher Flicks,
The Zeros,
Minor Threat,
Man Eating Sloth,
Michelle Simonal,
Amon Düül II,
the Human League,
Theoretical Girls,
Guru Guru,
Soft Cell,
The Walker Brothers,
Masters at Work,
The Black Dice,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.