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 Kiribati and from Glasgow.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1960 to 1970.
I'm losing my edge.
To all the kids in Manchester and Philadelphia.
I'm losing my edge to the art-school Milan 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 harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Motorama to the funk kids.
I played it at the 40 Watt.
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 Faraquet. All the underground hits.
All Excepter tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Maurizio,
Shuggie Otis,
Fluxion,
Wire,
Excepter,
Hot Snakes,
Tim Buckley,
The Saints,
The Fire Engines,
Crash Course in Science,
New York Dolls,
X-102,
Prince Buster,
Gregory Isaacs,
Depeche Mode,
Anakelly,
Lucky Dragons,
Jandek,
Stetsasonic,
the Sonics,
Youth Brigade,
The Fall,
Soft Cell,
Major Organ And The Adding Machine,
Rites of Spring,
Can,
the Normal,
Johnny Clarke,
Average White Band,
Danielle Patucci,
Lakeside,
Brick,
Laurel Aitken,
Easy Going,
Lebanon Hanover,
Tom Boy,
Soft Machine,
Goldenarms,
F. McDonald,
Freddie Wadling,
China Crisis,
Von Mondo,
Main Source,
Popol Vuh,
Bobby Womack,
Spandau Ballet,
Alphaville,
Q and Not U,
The West Coast Pop Art Experimental Band,
the Bar-Kays,
Barrington Levy,
Harmonia,
Jeru the Damaja,
Swell Maps,
CMW,
Pussy Galore,
Matthew Halsall,
Au Pairs,
Ossler,
Zero Boys,
Khruangbin,
Marmalade,
Sandy B, Sandy B, Sandy B, Sandy B.
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.