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 Australia and from Shanghai.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1970.
I'm losing my edge.
To all the kids in Bremen and Mexico City.
I'm losing my edge to the art-school Stockholm 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the harpsichord 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 Saccharine Trust to the jazz kids.
I played it at the Roxy.
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 Masters at Work. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal rap 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 a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a the Swans record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
La Düsseldorf,
Rhythm & Sound,
Lebanon Hanover,
Ralphi Rosario,
Sun Ra Arkestra,
Lyres,
Albert Ayler,
The Doors,
The Techniques,
The Gories,
The Remains,
Dave Gahan,
the Association,
Skaos,
Dorothy Ashby,
Lou Reed,
Little Man,
Liliput,
Janne Schatter,
DJ Sneak,
The Fugs,
Big Daddy Kane,
New York Dolls,
Spandau Ballet,
Selector Dub Narcotic,
Thompson Twins,
Amon Düül II,
Steve Hackett,
Man Parrish,
Massinfluence,
Goldenarms,
The Monks,
Andrew Ashong & Theo Parrish,
Byron Stingily,
Moebius,
Bizarre Inc.,
Simply Red,
This Heat,
Animal Collective,
The Misunderstood,
The Five Americans,
Porter Ricks,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Metal Thangz,
Funkadelic,
Joe Smooth,
Bang On A Can,
Grandmaster Flash,
Donald Byrd,
The United States of America,
Alison Limerick,
Stetsasonic,
Depeche Mode,
Thinking Fellers Union Local 282,
Bobby Sherman,
Angry Samoans,
Bauhaus,
The Star Department,
Avey Tare & Kría Brekkan,
Grandmaster Flash and the Furious Five,
Soft Cell,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.