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 Bolivia and from Manila.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Taipei and Bologna.
I'm losing my edge to the art-school Mumbai 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 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 Jesper Dahlbäck to the crunk kids.
I played it at Trash.
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 Super Lover Cee & Casanova Rud. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every Swans record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
Jesper Dahlback,
Oppenheimer Analysis,
The Fall,
Easy Going,
Unrelated Segments,
Jerry Gold Smith,
John Lydon,
Public Image Ltd.,
The Evens,
the Association,
Soul II Soul,
Dawn Penn,
Kaleidoscope,
The Fuzztones,
The Trojans,
The Grass Roots,
Ten City,
Lou Reed & John Cale,
Notorious Big And Bone Thugs,
Andrew Hill,
Kurtis Blow,
Nils Olav,
Jeff Lynne,
Blossom Toes,
Minutemen,
Moebius,
The Real Kids,
Delon & Dalcan,
The Cure,
Rekid,
The Standells,
Q and Not U,
Ralphi Rosario,
Gil Scott Heron,
The Motions,
Scan 7,
Bill Wells,
Derrick Morgan,
Althea and Donna,
The Blackbyrds,
Pere Ubu,
Cluster,
Lonnie Liston Smith,
Khruangbin,
Boz Scaggs,
The Last Poets,
R.M.O.,
Man Eating Sloth,
Rosa Yemen,
the Fania All-Stars,
Mark Hollis,
MDC,
Janne Schatter,
Smog,
Wighnomy Brothers & Robag Wruhme,
Reagan Youth,
Spandau Ballet,
Crime,
Glenn Branca,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.