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 Jamaica and from Manila.
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 1975.
I'm losing my edge.
To all the kids in Lille and Seoul.
I'm losing my edge to the art-school Johannesburg 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Lou Reed 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 Stetsasonic to the electroclash 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 Robert Görl. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Gang Green record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Dirtbombs record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Sad Lovers and Giants,
The Cowsills,
The Velvet Underground,
Freddie Wadling,
Scratch Acid,
Radio Birdman,
Anakelly,
Bill Wells,
Janne Schatter,
Organ,
Al Stewart,
Country Teasers,
Brand Nubian,
L. Decosne,
Crooked Eye,
Gang of Four,
Shoche,
Röyhkä ja Rättö ja Lehtisalo,
Angels of Light & Akron/Family,
Japan,
Visionaries,LMNO, T- Love & Iriscience,
Pere Ubu,
The Stooges,
Sight & Sound,
Kerri Chandler,
Minny Pops,
The Techniques,
The Mighty Diamonds,
Von Mondo,
Todd Rundgren,
Mandrill,
Delta 5,
Donald Byrd,
Tomorrow,
Model 500,
Aural Exciters,
Barrington Levy,
The Tremeloes,
Unrelated Segments,
Faraquet,
Ossler,
Thee Headcoats,
Aswad,
The Seeds,
Parry Music,
Lebanon Hanover,
Sunsets and Hearts,
John Lydon,
The Last Poets,
Visage,
Bizarre Inc.,
The Doors,
Dead Boys,
The Gladiators,
OOIOO,
Junior Murvin,
Pantytec,
Eric Dolphy,
World's Most,
Peter Gordon & Love of Life Orchestra,
Youth Brigade,
Jawbox, Jawbox, Jawbox, Jawbox.
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.