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 Kazakhstan and from Accra.
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 Tehran and Tehran.
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 arpeggiator 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 Pere Ubu to the punk kids.
I played it at the 40 Watt.
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 Marine Girls. All the underground hits.
All Goldenarms tracks. I heard you have a vinyl of every Mad Mike 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Evens record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Simply Red,
It's A Beautiful Day,
Stockholm Monsters,
Underground Resistance,
Silicon Teens,
Pantaleimon,
Deakin,
Y Pants,
ABC,
Kango’s Stein Massive,
Minnie Riperton,
Dark Day,
Nirvana,
Echospace,
Bad Manners,
Erasure,
Soft Cell,
Cymande,
Chris & Cosey,
Youth Brigade,
Public Image Ltd.,
Glenn Branca,
X-Ray Spex,
The Index,
Bobbi Humphrey,
Wings,
the Slits,
Tom Boy,
Mad Mike,
The Names,
Mo-Dettes,
Sun Ra Arkestra,
Eyeless In Gaza,
Gastr Del Sol,
Bang on a Can All-Stars,
Joey Negro,
Ossler,
Subhumans,
Prince Buster,
Rapeman,
The Music Machine,
The Mighty Diamonds,
Donny Hathaway,
The Dead C,
Royal Trux,
Desert Stars,
Young Marble Giants,
The Human League,
Lou Reed & John Cale,
H. Thieme,
Can,
Steve Hackett,
EPMD,
Albert Ayler,
Neu!,
Shuggie Otis,
One Last Wish,
June of 44,
The Chocolate Watch Band,
The Techniques,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.