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 Bulgaria and from Mexico City.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1976.
I'm losing my edge.
To all the kids in Milan and Philadelphia.
I'm losing my edge to the art-school Spokane 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 The Associates to the grunge 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 E-Dancer. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Spandau Ballet 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a T. Rex record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gun Club,
Scion,
James White and The Blacks,
Cabaret Voltaire,
Pantytec,
The Black Dice,
Alphaville,
Fat Boys,
The Fuzztones,
Pylon,
Siouxsie and the Banshees,
The Standells,
Eric B and Rakim,
Depeche Mode,
The Doors,
Neu!,
Eyeless In Gaza,
Anthony Braxton,
Sun City Girls,
Bootsy Collins,
Motorama,
The Residents,
LL Cool J,
Robert Wyatt,
Junior Murvin,
Marc Almond,
Alison Limerick,
Scratch Acid,
Deepchord,
Ornette Coleman,
Joey Negro,
Saccharine Trust,
Tommy Roe,
Sonic Youth,
The Fortunes,
Teenage Jesus and the Jerks,
Minnie Riperton,
The Moleskins,
Mars,
Babytalk,
Half Japanese,
Hashim,
H. Thieme,
The Zeros,
The Pop Group,
Richard Hell and the Voidoids,
Japan,
the Bar-Kays,
Chris Corsano,
Zero Boys,
Delon & Dalcan,
F. McDonald,
Nik Kershaw,
Hoover,
Easy Going,
Lou Reed & John Cale,
Letta Mbulu,
Sugar Minott,
The Toasters,
Flipper,
Absolute Body Control,
a-ha,
Terrestrial Tones,
Josef K, Josef K, Josef K, Josef K.
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.