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 Bolivia and from Stockholm.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Columbus and Taipei.
I'm losing my edge to the art-school Calgary 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 1978 at the first Visage practice in a loft in London.
I was working on the güiro 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 The Walker Brothers to the punk kids.
I played it at the Troubador.
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 Marmalade. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every Dave Gahan 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Moebius record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Marcia Griffiths,
Echospace,
Black Pus,
The Flesh Eaters,
The Misunderstood,
Lou Reed & John Cale,
Maurizio,
Joy Division,
The United States of America,
Cabaret Voltaire,
Gil Scott-Heron and Jamie xx,
Half Japanese,
Lonnie Liston Smith,
The Sonics,
The Techniques,
Black Sheep,
The Offenders,
Andrew Ashong & Theo Parrish,
Young Marble Giants,
Gary Puckett & The Union Gap,
Funky Four + One,
Excepter,
Hot Snakes,
Kaleidoscope,
Rufus Thomas,
OOIOO,
The Motions,
A Certain Ratio,
Freddie Wadling,
The Detroit Cobras,
CMW,
Rahsaan Roland Kirk,
Brick,
Audionom,
Wasted Youth,
Andrew Hill,
The Remains,
Jandek,
Thompson Twins,
Marc Romboy vs. Booka Shade,
Soft Machine,
Ossler,
Newcleus,
Make Up,
Magma,
Deutsch Amerikanische Freundschaft,
Major Organ And The Adding Machine,
Q65,
Scott Walker + Sunn O))),
Mr. Review,
The Mighty Diamonds,
The Blues Magoos,
Carl Craig,
Alison Limerick,
Sexual Harrassment,
The Dave Clark Five,
Essential Logic,
Matthew Bourne,
D'Angelo,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.