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 Georgia and from Lagos.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Seoul and Houston.
I'm losing my edge to the art-school Spokane 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 Bowie practice in a loft in Bromley.
I was working on the clarinet 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 ABBA to the funk 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 Lee Hazlewood. All the underground hits.
All Suburban Knight tracks. I heard you have a vinyl of every Lyres 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 '70s cut and another box set from the '80s.
I hear you're buying an organ and a spring reverb 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 arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Young Rascals,
Das Ding,
Marmalade,
Porter Ricks,
Harpers Bizarre,
The Real Kids,
Lyres,
Joensuu 1685,
Visage,
The Moody Blues,
Grauzone,
Sarah Menescal,
Banda Bassotti,
The Shadows of Knight,
Jerry's Kids,
Eddi Front,
Andrew Hill,
Swans,
Siouxsie and the Banshees,
The Toasters,
T. Rex,
DeepChord presents Echospace,
Scott Walker,
Cabaret Voltaire,
Sound Behaviour,
Faraquet,
Radiopuhelimet,
Thinking Fellers Union Local 282,
Hardrive,
Marshall Jefferson,
Johnny Osbourne,
The Gladiators,
Arab on Radar,
Eve St. Jones,
Inner City,
Dave Gahan,
Be Bop Deluxe,
Procol Harum,
Dr. Dre and Snoop Doggy Dog,
Beasts of Bourbon,
The Searchers,
cv313,
Piero Umiliani,
Crispian St. Peters,
The Black Dice,
Siglo XX,
Lizzy Mercier Descloux,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Detroit Cobras,
Peter and Kerry,
Model 500,
The Red Krayola,
The Men They Couldn't Hang,
Lower 48,
Godley & Creme,
The Fire Engines,
Tropical Tobacco,
Joey Negro,
Cluster,
The Trojans,
Monolake,
The Martian,
Kango’s Stein Massive,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.