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 Samoa and from Glasgow.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Toronto and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 spring reverb 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 Barracudas to the electroclash kids.
I played it at the Crocodile.
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 The Monks. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal rock 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 Depeche Mode record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
The Move,
Audionom,
Banda Bassotti,
Ultra Naté,
Bang On A Can,
Bush Tetras,
Rakim,
Letta Mbulu,
Ronan,
Jeff Mills,
Soulsonic Force,
Supertramp,
Boz Scaggs,
The Alarm Clocks,
Dorothy Ashby,
The Music Machine,
Eurythmics,
DeepChord presents Echospace,
Bobby Sherman,
Easy Going,
Rosa Yemen,
Robert Görl,
Ralphi Rosario,
Ultravox,
Sly & The Family Stone,
Sun Ra Arkestra,
Country Joe & The Fish,
Jerry's Kids,
The Smoke,
Bizarre Inc.,
One Last Wish,
Notorious BIG live in Amsterdam,
the Germs,
It's A Beautiful Day,
Electric Prunes,
Susan Cadogan,
Blossom Toes,
Glenn Branca,
Rhythim Is Rhythim,
Rufus Thomas,
Oblivians,
Althea and Donna,
Bluetip,
The Leaves,
Cabaret Voltaire,
Pole,
Neil Young & Crazy Horse,
The Mighty Diamonds,
Ornette Coleman,
The Moleskins,
Scrapy,
The Chocolate Watch Band,
Smog,
Eddi Front,
PIL,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.