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 Uganda and from Bremen.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Lille.
I'm losing my edge to the art-school New York 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Masters at Work to the grunge 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 Guru Guru. All the underground hits.
All Bob Dylan 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 grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Tim Buckley record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum 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 Happenings,
The Barracudas,
Quantec,
Jawbox,
Liaisons Dangereuses,
Eyeless In Gaza,
the Bar-Kays,
Underground Resistance,
The Fall,
The Blackbyrds,
The Grass Roots,
Crime,
Judy Mowatt,
Howard Jones,
Vaughan Mason & Crew,
Joensuu 1685,
MDC,
Sparks,
Black Flag,
Skaos,
Circle Jerks,
Electric Light Orchestra,
X-Ray Spex,
The Star Department,
David McCallum,
Cabaret Voltaire,
Von Mondo,
Maleditus Sound,
Moby Grape,
Public Image Ltd.,
DeepChord presents Echospace,
CMW,
Max Romeo,
Arcadia,
Michelle Simonal,
Quando Quango,
Black Sheep,
T. Rex,
Skriet,
Dark Day,
Technova,
Alison Limerick,
The Gories,
Bobby Sherman,
Chris Corsano,
KRS-One,
Laurel Aitken,
Nas,
La Düsseldorf,
Nick Cave & The Bad Seeds,
Bobby Hutcherson,
The Associates,
Todd Terry,
Oppenheimer Analysis,
The Dave Clark Five,
Qualms,
Hardrive,
Pole,
Desert Stars,
Terrestrial Tones,
Sällskapet,
Arab on Radar,
The Vogues,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.