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 Ireland and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1965 to 1975.
I'm losing my edge.
To all the kids in Toronto and Johannesburg.
I'm losing my edge to the art-school Jakarta 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 linndrum 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 Liliput to the jazz kids.
I played it at the Astoria.
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 Thee Headcoats. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every It's A Beautiful Day 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 '80s cut and another box set from the '90s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Goldenarms record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro 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?
The Monochrome Set,
Lou Reed & Metallica,
The Offenders,
Josef K,
Marshall Jefferson,
De La Soul & Jungle Brothers,
Eden Ahbez,
Motorama,
Stereo Dub,
Rahsaan Roland Kirk,
the Bar-Kays,
Bush Tetras,
Rhythm & Sound,
Guru Guru,
Maleditus Sound,
Delon & Dalcan,
KRS-One,
The J.B.'s,
The Fire Engines,
Davy DMX,
Nick Fraelich,
Reagan Youth,
The Five Americans,
Smog,
Talk Talk,
Index,
Lizzy Mercier Descloux,
Piero Umiliani,
Pussy Galore,
Dorothy Ashby,
Gregory Isaacs,
Cabaret Voltaire,
Kaleidoscope,
The Move,
Sugar Minott,
Monolake,
The Toasters,
Beasts of Bourbon,
Banda Bassotti,
Jawbox,
Audionom,
The Shadows of Knight,
Boz Scaggs,
The Leaves,
Johnny Osbourne,
Underground Resistance,
New York Dolls,
Barbara Tucker,
The Real Kids,
Visionaries,LMNO, T- Love & Iriscience,
Liliput,
The Litter,
Joensuu 1685,
Albert Ayler,
Anakelly,
Peter & Gordon,
Rites of Spring,
Icehouse,
Scan 7,
Nils Olav,
Camberwell Now,
Anthony Braxton,
Simply Red,
Altered Images, Altered Images, Altered Images, Altered Images.
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.