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 Haiti and from Glasgow.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Paris.
I'm losing my edge to the art-school Lyon 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 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 Audionom to the disco kids.
I played it at the 40 Watt.
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 Minutemen. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every Lucky Dragons record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
Kauko Röyhkä ja Narttu,
MC5,
Bang On A Can,
The Mummies,
Symarip,
Kerri Chandler,
The Litter,
Jawbox,
Gian Franco Pienzio,
Scott Walker,
Eli Mardock,
Accadde A,
Susan Cadogan,
B.T. Express,
Masters at Work,
World's Most,
The Mojo Men,
Buzzcocks,
The Smoke,
Lucky Dragons,
Suburban Knight,
Manfred Mann's Earth Band,
Tomorrow,
Donny Hathaway,
Guru Guru,
Gil Scott-Heron & Brian Jackson,
Kings Of Tomorrow,
Graham Central Station,
Motorama,
a-ha,
Cybotron,
Unwound,
Gary Puckett & The Union Gap,
The Last Poets,
Gang of Four,
Thee Headcoats,
Ice-T,
Bootsy Collins,
The Dead C,
Archie Shepp,
LL Cool J,
Lindisfarne,
Nick Fraelich,
Kurtis Blow,
Stockholm Monsters,
Oblivians,
The Evens,
Hoover,
Colin Newman,
Spoonie Gee,
Tres Demented,
Bobby Sherman,
The Seeds,
Television,
The West Coast Pop Art Experimental Band,
Alison Limerick,
Rites of Spring,
The Offenders,
Popol Vuh,
Make Up,
Juan Atkins,
Tears for Fears,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.