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 Nicaragua and from Bremen.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Philadelphia.
I'm losing my edge to the art-school Halifax 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay 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 Dead Boys to the rock kids.
I played it at CBGB's.
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 Chocolate Watch Band. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
cv313,
The Cure,
The Kinks,
Johnny Clarke,
The Wake,
Maurizio,
The Cramps,
The Young Rascals,
Second Layer,
The Walker Brothers,
Cabaret Voltaire,
Saccharine Trust,
James Chance & The Contortions,
Schoolly D,
Wings,
L. Decosne,
Wally Richardson,
the Bar-Kays,
X-101,
Oblivians,
Electric Light Orchestra,
Pharoah Sanders,
Mr. Review,
Qualms,
Barry Ungar,
Sandy B,
The Modern Lovers,
Pylon,
Neil Young & Crazy Horse,
Jesper Dahlbäck,
Kaleidoscope,
Smog,
Au Pairs,
Bootsy Collins,
Colin Newman,
The Misunderstood,
Gang of Four,
Simply Red,
Gregory Isaacs,
Soul Sonic Force,
Frankie Knuckles,
New York Dolls,
Notorious Big And Bone Thugs,
Duran Duran,
Absolute Body Control,
Pussy Galore,
Oneida,
Sam Rivers,
Tears for Fears,
Eddi Front,
Pete Rock & C.L. Smooth,
Teenage Jesus and the Jerks,
Gang Green,
Harpers Bizarre,
Kango’s Stein Massive,
The Standells,
Silicon Teens,
London Community Gospel Choir,
Minutemen,
KRS-One,
Soulsonic Force,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.