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 Togo and from Mumbai.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Milan and Paris.
I'm losing my edge to the art-school Hong Kong 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 1973 at the first Television practice in a loft in New York.
I was working on the oboe sounds with much patience.
I was there when David Bowie 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 Mr. Review to the techno kids.
I played it at the Crocodile.
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 Detroit Cobras. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every Minutemen record on German import.
I heard that you have a white label of every seminal funk 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 a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Negative Approach,
The Index,
Kauko Röyhkä ja Narttu,
the Germs,
Sexual Harrassment,
Pylon,
Circle Jerks,
Brass Construction,
The Mummies,
The Misunderstood,
Traffic Nightmare,
LL Cool J,
The Vogues,
The Searchers,
Eve St. Jones,
The Tremeloes,
Lindisfarne,
Easy Going,
Bobby Byrd,
Agitation Free,
Big Daddy Kane,
Johnny Osbourne,
Radio Birdman,
Warren Ellis,
Dennis Brown,
Moss Icon,
Japan,
Notorious BIG live in Amsterdam,
The Fall,
Ponytail,
Barclay James Harvest,
Tim Buckley,
Thompson Twins,
Simply Red,
One Last Wish,
Goldenarms,
Bluetip,
Dave Gahan,
Lungfish,
Gil Scott-Heron & Brian Jackson,
John Holt,
The Sonics,
Tears for Fears,
Depeche Mode,
Cabaret Voltaire,
Anakelly,
Quando Quango,
Kango’s Stein Massive,
Desert Stars,
Toni Rubio,
Monks,
Unrelated Segments,
The Moody Blues,
Oblivians,
Steve Hackett,
Lou Reed & John Cale,
Malaria!,
Sun Ra Arkestra,
Porter Ricks,
Maurizio,
Gerry Rafferty,
Marmalade,
Joey Negro, Joey Negro, Joey Negro, Joey Negro.
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.