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 Dominica and from Columbus.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Halifax and Tokyo.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 Howard Jones to the dance kids.
I played it at the 40 Watt.
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 Minny Pops. All the underground hits.
All Scrapy tracks. I heard you have a vinyl of every Agent Orange 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 '70s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Accadde A record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Khruangbin,
Moebius,
Notorious Big And Bone Thugs,
a-ha,
Avey Tare's Slasher Flicks,
The Royal Family And The Poor,
Kerrie Biddell,
Crash Course in Science,
Radiopuhelimet,
Procol Harum,
FM Einheit,
Pole,
Vaughan Mason & Crew,
One Last Wish,
Visionaries,LMNO, T- Love & Iriscience,
Interpol,
Jerry's Kids,
Rufus Thomas,
Index,
Terry Callier,
Camouflage,
Jesper Dahlbäck,
Siglo XX,
John Foxx,
Marshall Jefferson,
Barry Ungar,
The Divine Comedy,
Bob Dylan,
David McCallum,
Al Stewart,
X-Ray Spex,
Minor Threat,
Glambeats Corp.,
Blancmange,
Black Flag,
MC5,
Larry & the Blue Notes,
Soul II Soul,
Symarip,
John Coltrane,
Erasure,
Brand Nubian,
The Pop Group,
Funkadelic,
Lalann,
Liaisons Dangereuses,
Art Ensemble Of Chicago,
Gian Franco Pienzio,
This Heat,
The Birthday Party,
Albert Ayler,
Yellowson,
Dennis Brown,
Circle Jerks,
The Music Machine,
Sugar Minott,
Terrestrial Tones,
Oneida,
Gichy Dan,
The Beau Brummels,
Drive Like Jehu,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.