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 Barbados and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Bremen and Cairo.
I'm losing my edge to the art-school Edmonton 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 These Immortal Souls to the jazz kids.
I played it at Trash.
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 Amazonics. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Mantronix record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
The Peanut Butter Conspiracy,
the Slits,
The Residents,
Supertramp,
The Seeds,
Arab on Radar,
Susan Cadogan,
Bobbi Humphrey,
Bad Manners,
Hardrive,
Roxy Music,
Deadbeat,
The Happenings,
Eurythmics,
Röyhkä ja Rättö ja Lehtisalo,
The Star Department,
Ossler,
Boredoms,
Pylon,
Patti Smith,
The Gun Club,
the Germs,
Niagra,
Scrapy,
Selector Dub Narcotic,
Cymande,
Masters at Work,
Eyeless In Gaza,
Lalo Schifrin,
Traffic Nightmare,
Radiohead,
Cluster,
Scientists,
Silicon Teens,
Alphaville,
New York Dolls,
Iggy Pop,
Quadrant,
Tubeway Army,
the Sonics,
June of 44,
Pussy Galore,
Joe Finger,
Qualms,
Gil Scott Heron,
Inner City,
Bluetip,
Sparks,
Gastr Del Sol,
Pete Rock & C.L. Smooth,
The Zeros,
Justin Hinds & The Dominoes,
Procol Harum,
Rotary Connection,
The Saints,
Al Stewart,
Oblivians,
Eddi Front,
the Association,
Neil Young & Crazy Horse,
ABC, ABC, ABC, ABC.
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.