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 Montenegro and from Seoul.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Tehran and Philadelphia.
I'm losing my edge to the art-school Woodstock 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 at the first Suicide practice in a loft in New York.
I was working on the organ 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 Grandmaster Flash and the Furious Five 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 Stetsasonic. All the underground hits.
All The Invisible tracks. I heard you have a vinyl of every In Retrospect record on German import.
I heard that you have a white label of every seminal punk 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 guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
Guru Guru,
Sugar Minott,
Soul Sonic Force,
The Vogues,
The Remains,
Aural Exciters,
Model 500,
The Angels of Light,
Kenny Larkin,
Saccharine Trust,
Can,
Nation of Ulysses,
Liaisons Dangereuses,
Soft Cell,
Mission of Burma,
Althea and Donna,
The Doors,
Con Funk Shun,
Max Romeo,
Scott Walker,
Animal Collective,
The Seeds,
Carl Craig,
Moby Grape,
Alison Limerick,
Lee Hazlewood,
Todd Rundgren,
E-Dancer,
Wings,
Thinking Fellers Union Local 282,
Bauhaus,
Hashim,
Pylon,
Nick Fraelich,
The Invisible,
London Community Gospel Choir,
The Mojo Men,
Deutsch Amerikanische Freundschaft,
Groovy Waters,
Symarip,
Nik Kershaw,
Robert Görl,
Youth Brigade,
Spoonie Gee,
Sixth Finger,
Gang Green,
Unrelated Segments,
Letta Mbulu,
The Motions,
Glenn Branca,
Radio Birdman,
Unwound,
Rod Modell,
a-ha,
The Mighty Diamonds,
Massinfluence,
Negative Approach,
The Shadows of Knight,
Make Up,
Scrapy,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.