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 Belarus and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Paris.
I'm losing my edge to the art-school Taipei 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Cabaret Voltaire to the techno kids.
I played it at the Astoria.
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 Thompson Twins. All the underground hits.
All Röyhkä ja Rättö ja Lehtisalo tracks. I heard you have a vinyl of every Tears for Fears 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 '80s cut and another box set from the '70s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
Lower 48,
the Bar-Kays,
Dawn Penn,
Maurizio,
The Music Machine,
Soft Cell,
Public Enemy,
The Angels of Light,
Rakim,
The Sound,
Maleditus Sound,
Fela Kuti,
Y Pants,
The Golliwogs,
The Five Americans,
The Selecter,
ABBA,
Shoche,
Jesper Dahlbäck,
Marshall Jefferson,
Be Bop Deluxe,
Joe Smooth,
Siglo XX,
Theoretical Girls,
The Associates,
Arthur Verocai,
Lou Christie,
David Axelrod,
Hot Snakes,
Hashim,
The Velvet Underground,
Masters at Work,
Piero Umiliani,
Surgeon,
Wolf Eyes,
The Pop Group,
Groovy Waters,
The Seeds,
The Martian,
Rufus Thomas,
Wings,
Young Marble Giants,
Glenn Branca,
LL Cool J,
Black Bananas,
The Skatalites,
Marc Almond,
Harmonia,
Lakeside,
Bauhaus,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Godley & Creme,
Roxy Music,
Avey Tare & Kría Brekkan,
Ultravox,
The Residents,
X-101,
Subhumans,
The Sonics,
Dennis Brown, Dennis Brown, Dennis Brown, Dennis Brown.
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.