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 Taiwan and from Toronto.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Lagos and Portland.
I'm losing my edge to the art-school Lyon 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 snare sounds with much patience.
I was there when Robert Palmer 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 Barbara Tucker to the dance 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 Nik Kershaw. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Barry Ungar record on German import.
I heard that you have a white label of every seminal dance 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 oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Flamin' Groovies,
D'Angelo,
OOIOO,
Altered Images,
Half Japanese,
Young Marble Giants,
The Mojo Men,
Nico,
Blossom Toes,
Dark Day,
Absolute Body Control,
Faust,
Television Personalities,
Aswad,
Symarip,
The Human League,
Ohio Players,
Dave Gahan,
Strawberry Alarm Clock,
Ultravox,
Grandmaster Flash,
John Foxx,
T. Rex,
Throbbing Gristle,
Shoche,
The Vogues,
Circle Jerks,
Drexciya,
Joe Finger,
Bobby Byrd,
Man Eating Sloth,
The Fire Engines,
Ralphi Rosario,
Janne Schatter,
The Slackers,
Ash Ra Tempel,
Yazoo,
Nik Kershaw,
Orchestral Manoeuvres in the Dark,
The Velvet Underground,
Siouxsie and the Banshees,
Black Moon,
Jerry Gold Smith,
Liliput,
Tubeway Army,
Peter Gordon & Love of Life Orchestra,
Fort Wilson Riot,
Icehouse,
MDC,
The Pretty Things,
Jandek,
John Coltrane,
Cybotron,
Masters at Work,
Sällskapet,
Camron Feat. Jay Z And Juelz,
Monolake,
Judy Mowatt,
Amon Düül,
Albert Ayler,
Minny Pops,
The Fortunes,
The Offenders, The Offenders, The Offenders, The Offenders.
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.