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 Burkina and from Taipei.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1971.
I'm losing my edge.
To all the kids in New York and Taipei.
I'm losing my edge to the art-school Manchester 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Martian to the electroclash 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 Television. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every Icehouse record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a linndrum 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 a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
UT,
Slave,
Half Japanese,
Q65,
Ornette Coleman,
10cc,
Flamin' Groovies,
Juan Atkins,
The Knickerbockers,
Yazoo,
Grandmaster Flash and the Furious Five,
MDC,
Eurythmics,
Oppenheimer Analysis,
T.S.O.L.,
The Star Department,
Make Up,
Archie Shepp,
Marc Almond,
Radio Birdman,
Rekid,
Symarip,
The Birthday Party,
Mandrill,
Panda Bear,
Tubeway Army,
The Human League,
Gastr Del Sol,
Ohio Players,
The Moody Blues,
Zapp,
Crime,
Section 25,
A Certain Ratio,
The Grass Roots,
Severed Heads,
Alton Ellis,
The Cowsills,
Sarah Menescal,
Silicon Teens,
The Neon Judgement,
Wighnomy Brothers & Robag Wruhme,
The Angels of Light,
Terrestrial Tones,
Peter Gordon & Love of Life Orchestra,
Outsiders,
Depeche Mode,
The Slits,
Bush Tetras,
Visionaries,LMNO, T- Love & Iriscience,
Cluster,
Soft Machine,
Yaz,
The Sound,
Moss Icon,
The Blues Magoos,
Ash Ra Tempel,
The Doobie Brothers,
the Slits,
Lower 48,
Gil Scott-Heron & Brian Jackson,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.