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 Beijing.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 Johannesburg and Lyon.
I'm losing my edge to the art-school Toronto 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 rhodes 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 The Vogues to the dance kids.
I played it at the Spitz.
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 Underground Resistance. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every The Men They Couldn't Hang record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Sherman record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gories,
Letta Mbulu,
The Fuzztones,
The West Coast Pop Art Experimental Band,
Max Romeo,
Marmalade,
The Residents,
Sound Behaviour,
The Detroit Cobras,
The Litter,
Gastr Del Sol,
Warren Ellis,
Sam Rivers,
Maleditus Sound,
PIL,
Urselle,
Cluster,
Scion,
The Divine Comedy,
Gian Franco Pienzio,
The Smiths,
Morten Harket,
The Red Krayola,
Ultra Naté,
Motorama,
Siouxsie and the Banshees,
Saccharine Trust,
Gong,
Eddi Front,
Michelle Simonal,
Robert Hood,
Subhumans,
Agent Orange,
Rapeman,
Bauhaus,
Wolf Eyes,
Aswad,
Shuggie Otis,
The Peanut Butter Conspiracy,
Patti Smith,
A Certain Ratio,
Stockholm Monsters,
Charles Mingus,
Arthur Verocai,
Isaac Hayes,
Sad Lovers and Giants,
The Durutti Column,
Stereo Dub,
The Real Kids,
John Holt,
Gary Puckett & The Union Gap,
Flamin' Groovies,
John Coltrane,
Sun Ra,
OOIOO,
Joe Finger,
Reuben Wilson,
Dark Day,
Curtis Mayfield,
The Walker Brothers,
R.M.O.,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.