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 Sweden and from Manchester.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Lille.
I'm losing my edge to the art-school Philadelphia 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe 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 The Associates to the rock kids.
I played it at the Astoria.
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 Avey Tare & Kría Brekkan. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal punk 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 a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
T. Rex,
Bootsy's Rubber Band,
The Slits,
Faust,
Interpol,
Big Daddy Kane,
Major Organ And The Adding Machine,
Connie Case,
Louis and Bebe Barron,
Slick Rick,
Soulsonic Force,
Arcadia,
Gil Scott-Heron & Brian Jackson,
Von Mondo,
Lindisfarne,
Fort Wilson Riot,
Ash Ra Tempel,
Buzzcocks,
Colin Newman,
Dual Sessions,
Deakin,
The Golliwogs,
Erasure,
Joey Negro,
The Detroit Cobras,
Thee Headcoats,
Derrick May,
MC5,
Stiv Bators,
Panda Bear,
Radiohead,
Scan 7,
Gregory Isaacs,
Wasted Youth,
Rowland S Howard / Lydia Lunch,
The Associates,
Moss Icon,
The Raincoats,
Brass Construction,
Aswad,
Roger Hodgson,
Ossler,
Reuben Wilson,
Audionom,
Susan Cadogan,
Beasts of Bourbon,
Q and Not U,
Zero Boys,
Red Lorry Yellow Lorry,
Boogie Down Productions,
Curtis Mayfield,
The Seeds,
The Blues Magoos,
Pantaleimon,
Rod Modell,
Rhythm & Sound,
Fugazi,
The Dirtbombs,
Althea and Donna,
Steve Hackett,
David Bowie, David Bowie, David Bowie, David Bowie.
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.