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 Papua New Guinea and from Edmonton.
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 1961 to 1974.
I'm losing my edge.
To all the kids in London and Salvador.
I'm losing my edge to the art-school Shanghai 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 arpeggiator 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 Barrington Levy to the jazz kids.
I played it at Trash.
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 Ultimate Spinach. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Monolake record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
The Royal Family And The Poor,
Fad Gadget,
Anthony Braxton,
The Dirtbombs,
the Human League,
Ten City,
Boogie Down Productions,
The Offenders,
Curtis Mayfield,
The Cramps,
Joyce Sims,
The Names,
Jerry's Kids,
Lower 48,
James White and The Blacks,
UT,
Echo & the Bunnymen,
The Monks,
Brass Construction,
Inner City,
The Doobie Brothers,
Röyhkä ja Rättö ja Lehtisalo,
Siglo XX,
The Evens,
The Gories,
Teenage Jesus and the Jerks,
Black Moon,
Althea and Donna,
Groovy Waters,
The Skatalites,
Swans,
Ash Ra Tempel,
a-ha,
Maleditus Sound,
Magazine,
Sad Lovers and Giants,
Lungfish,
The Grass Roots,
Deakin,
Slave,
Mantronix,
Altered Images,
Scott Walker + Sunn O))),
A Certain Ratio,
Freddie Wadling,
Thee Headcoats,
Kerri Chandler,
Derrick Morgan,
Charles Mingus,
the Bar-Kays,
Drive Like Jehu,
Larry & the Blue Notes,
10cc,
Mr. Review,
The Birthday Party,
Terrestrial Tones,
The Black Dice,
Pantaleimon,
Loose Ends,
Dual Sessions,
The Zeros,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.