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 Bosnia Herzegovina and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1965 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Edmonton.
I'm losing my edge to the art-school Manila 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 organ 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 Alphaville to the dance 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 Rotary Connection. All the underground hits.
All John Foxx tracks. I heard you have a vinyl of every Sight & Sound 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Josef K record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeru the Damaja,
The Mummies,
Al Stewart,
Sex Pistols,
Arcadia,
Rhythm & Sound,
Buzzcocks,
John Holt,
The Cramps,
Monolake,
Inner City,
James Chance & The Contortions,
Sunsets and Hearts,
Gil Scott-Heron & Brian Jackson,
The Peanut Butter Conspiracy,
Minutemen,
Interpol,
The Gap Band,
Reagan Youth,
John Coltrane,
Lower 48,
Piero Umiliani,
Bobby Byrd,
F. McDonald,
Sight & Sound,
Depeche Mode,
Magma,
Juan Atkins,
Lou Reed,
a-ha,
Essential Logic,
The Angels of Light,
Curtis Mayfield,
The Detroit Cobras,
The Evens,
Ludus,
Flash Fearless,
Kas Product,
Cybotron,
David Axelrod,
Wighnomy Brothers & Robag Wruhme,
Spandau Ballet,
The Count Five,
Oppenheimer Analysis,
The Knickerbockers,
Lungfish,
Ultra Naté,
The Seeds,
Royal Trux,
Chris Corsano,
Arthur Verocai,
Sun City Girls,
Agent Orange,
ABBA,
Pantytec,
Malaria!,
London Community Gospel Choir,
Siouxsie and the Banshees,
June Days,
EPMD,
Lou Reed & Metallica,
Sonic Youth, Sonic Youth, Sonic Youth, Sonic Youth.
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.