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 Cuba and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Houston.
I'm losing my edge to the art-school Glasgow 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 Motorama to the electroclash kids.
I played it at the Spitz.
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 the Human League. All the underground hits.
All Cybotron tracks. I heard you have a vinyl of every Unwound record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Soft Cell,
Steve Hackett,
Godley & Creme,
B.T. Express,
Moebius,
Marmalade,
Lucky Dragons,
Scientists,
Eve St. Jones,
Pantytec,
Popol Vuh,
Desert Stars,
Niagra,
ABBA,
Man Eating Sloth,
Faust,
Black Flag,
Fela Kuti,
the Normal,
Jandek,
Pagans,
Richard Hell and the Voidoids,
Reagan Youth,
Absolute Body Control,
The Smoke,
Stereo Dub,
The Beau Brummels,
The Saints,
Rotary Connection,
Henry Cow,
Derrick May,
Albert Ayler,
Panda Bear,
The Toasters,
Kauko Röyhkä ja Narttu,
Matthew Bourne,
The Slackers,
Tim Buckley,
Shuggie Otis,
Max Romeo,
Alison Limerick,
Lou Reed & Metallica,
Grandmaster Flash,
The Barracudas,
L. Decosne,
U.S. Maple,
The Selecter,
Swell Maps,
Gil Scott-Heron and Jamie xx,
Motorama,
Masters at Work,
Fad Gadget,
Television,
Icehouse,
Can,
Spoonie Gee,
Drexciya,
The Misunderstood,
X-Ray Spex,
Nick Cave & The Bad Seeds,
Roxette, Roxette, Roxette, Roxette.
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.