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 Ukraine and from Delhi.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1968 to 1974.
I'm losing my edge.
To all the kids in Lagos and Woodstock.
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 spring reverb 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 Glenn Branca to the punk kids.
I played it at CBGB's.
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 Ultra Naté. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Simply Red record on German import.
I heard that you have a white label of every seminal rap 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 theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Soft Machine,
Sun City Girls,
Spoonie Gee,
Marine Girls,
Cecil Taylor,
Notorious Big And Bone Thugs,
Lower 48,
A Certain Ratio,
The Cowsills,
David McCallum,
Heaven 17,
In Retrospect,
Derrick May,
Avey Tare & Kría Brekkan,
Magazine,
Ralphi Rosario,
Duran Duran,
Joyce Sims,
Los Fastidios,
Lyres,
Teenage Jesus and the Jerks,
The Fall,
The United States of America,
Hot Snakes,
Kayak,
Slave,
Lizzy Mercier Descloux,
Lou Reed & John Cale,
the Bar-Kays,
Nation of Ulysses,
Kas Product,
Tom Boy,
Swans,
UT,
Sight & Sound,
Matthew Halsall,
Nick Cave & The Bad Seeds,
It's A Beautiful Day,
Sun Ra Arkestra,
Television,
Rhythim Is Rhythim,
Gil Scott-Heron & Brian Jackson,
The Jesus and Mary Chain,
Maleditus Sound,
Depeche Mode,
June Days,
Das Ding,
Aswad,
Anakelly,
kango's stein massive,
Lakeside,
The Detroit Cobras,
Barclay James Harvest,
Schoolly D,
Susan Cadogan,
Kevin Saunderson,
Ronnie Foster,
Flipper,
Magma,
Ultravox, Ultravox, Ultravox, Ultravox.
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.