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 Honduras and from Stockholm.
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 1972.
I'm losing my edge.
To all the kids in Bremen and Lille.
I'm losing my edge to the art-school Bologna 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 marimba 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 Sparks to the grunge 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 Siglo XX. All the underground hits.
All The Gun Club tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Blancmange,
Archie Shepp,
The Count Five,
The Walker Brothers,
The Men They Couldn't Hang,
The Cramps,
Alphaville,
Roxette,
Kaleidoscope,
The West Coast Pop Art Experimental Band,
Blossom Toes,
Maurizio,
Bizarre Inc.,
F. McDonald,
Godley & Creme,
Fatback Band,
Erykah Badu,
The Gladiators,
Subhumans,
Traffic Nightmare,
Swans,
The Beau Brummels,
Shoche,
Man Eating Sloth,
The Knickerbockers,
The Royal Family And The Poor,
the Slits,
Bill Near,
Niagra,
Howard Jones,
Sun Ra Arkestra,
Gang Gang Dance,
Agitation Free,
Sight & Sound,
Gerry Rafferty,
The Flesh Eaters,
Symarip,
Ultra Naté,
Big Daddy Kane,
Angry Samoans,
Dawn Penn,
the Germs,
Deutsch Amerikanische Freundschaft,
Davy DMX,
Avey Tare,
Larry & the Blue Notes,
Can,
Soft Machine,
Groovy Waters,
The Gun Club,
Marcia Griffiths,
Louis and Bebe Barron,
Jeff Lynne,
Röyhkä ja Rättö ja Lehtisalo,
Deakin,
Y Pants,
Cecil Taylor,
World's Most,
Eden Ahbez,
Pantytec,
Nirvana,
Hasil Adkins,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.