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 Ireland and from Woodstock.
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 1978.
I'm losing my edge.
To all the kids in Shanghai and Bologna.
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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Tommy Roe to the dance kids.
I played it at Cafe Wha.
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 Gastr Del Sol. All the underground hits.
All The Flesh Eaters tracks. I heard you have a vinyl of every Barclay James Harvest 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 chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Chris Corsano record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Buzzcocks,
Funky Four + One,
Grauzone,
James White and The Blacks,
The Invisible,
Deakin,
Godley & Creme,
Rekid,
Fort Wilson Riot,
Banda Bassotti,
The Standells,
The Slits,
Eden Ahbez,
Infiniti,
Excepter,
U.S. Maple,
Deutsch Amerikanische Freundschaft,
Scratch Acid,
Vaughan Mason & Crew,
Jacques Brel,
Morten Harket,
Peter and Kerry,
The New Christs,
The Fire Engines,
Lungfish,
OOIOO,
Lou Christie,
Cymande,
Tommy Roe,
Brick,
Radiohead,
Sonic Youth,
Thinking Fellers Union Local 282,
Visage,
Public Image Ltd.,
The Techniques,
Archie Shepp,
Sun Ra,
Nation of Ulysses,
Howard Jones,
Bob Dylan,
John Cale,
Wighnomy Brothers & Robag Wruhme,
Bauhaus,
Young Marble Giants,
Derrick May,
Flash Fearless,
Bluetip,
Siouxsie and the Banshees,
Minnie Riperton,
Minor Threat,
Tears for Fears,
The Gories,
Gong,
Notorious Big And Bone Thugs,
David McCallum,
Bronski Beat,
Man Parrish,
Los Fastidios,
Lucky Dragons,
Guru Guru,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.