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 Sri Lanka and from Toronto.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Lyon and Toronto.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the güiro 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 The Fuzztones to the electroclash kids.
I played it at the Hacienda.
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 Moody Blues. All the underground hits.
All Rowland S Howard / Lydia Lunch tracks. I heard you have a vinyl of every Sonny Sharrock record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
The Velvet Underground,
Japan,
Eli Mardock,
Groovy Waters,
The Buckinghams,
Intrusion,
The Dave Clark Five,
In Retrospect,
10cc,
Moebius,
Oblivians,
The Slits,
Althea and Donna,
Avey Tare & Kría Brekkan,
The Smoke,
The Move,
Alphaville,
Severed Heads,
T. Rex,
Charles Mingus,
Nils Olav,
Harmonia,
The Zeros,
Andrew Ashong & Theo Parrish,
Duran Duran,
Clear Light,
Strawberry Alarm Clock,
Interpol,
The American Breed,
Lucky Dragons,
Lou Reed & John Cale,
Thompson Twins,
Brand Nubian,
Royal Trux,
a-ha,
Public Enemy,
Kenny Larkin,
Jesper Dahlbäck,
The Alarm Clocks,
Cecil Taylor,
Sun Ra,
Marmalade,
Stereo Dub,
The Associates,
The Pop Group,
Sonic Youth,
Eyeless In Gaza,
Gian Franco Pienzio,
The Vogues,
The Monochrome Set,
The Barracudas,
Mark Hollis,
The Birthday Party,
Grandmaster Flash and the Furious Five,
Chris Corsano,
Cal Tjader,
John Foxx,
Art Ensemble Of Chicago,
Steve Hackett,
Albert Ayler,
X-101,
Make Up,
The Residents, The Residents, The Residents, The Residents.
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.