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 Angola and from Mexico City.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Milan.
I'm losing my edge to the art-school Lille 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 guitar 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 Eyeless In Gaza to the funk kids.
I played it at Cafe Wha.
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 Urselle. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Soulsonic Force 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 '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
the Association,
The Cosmic Jokers,
Barclay James Harvest,
F. McDonald,
Eyeless In Gaza,
Wire,
Sonny Sharrock,
Echo & the Bunnymen,
Curtis Mayfield,
Marc Romboy vs. Booka Shade,
Bobby Byrd,
Althea and Donna,
Barrington Levy,
The Angels of Light,
Derrick Morgan,
Robert Hood,
Robert Görl,
Be Bop Deluxe,
Gabor Szabo,
Guru Guru,
The Music Machine,
Pussy Galore,
Henry Cow,
Johnny Osbourne,
Colin Newman,
Gil Scott Heron,
Kings Of Tomorrow,
Wings,
Art Ensemble Of Chicago,
AZ,
The Gladiators,
Brand Nubian,
The Kinks,
Flamin' Groovies,
Con Funk Shun,
Röyhkä ja Rättö ja Lehtisalo,
Scott Walker,
Saccharine Trust,
Anakelly,
Gil Scott-Heron & Brian Jackson,
Bizarre Inc.,
Niagra,
T.S.O.L.,
The Sonics,
One Last Wish,
Sonic Youth,
Mantronix,
The Move,
Michelle Simonal,
The Dirtbombs,
World's Most,
Minutemen,
Eli Mardock,
Strawberry Alarm Clock,
Cluster,
The Doobie Brothers,
Sight & Sound,
Skriet,
Marc Almond,
The Busters, The Busters, The Busters, The Busters.
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.