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 Egypt and from Spokane.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school Lille 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 güiro sounds with much patience.
I was there when Michael McDonald 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 Roxy Music to the grunge kids.
I played it at the Spitz.
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 Qualms. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every Lou Christie record on German import.
I heard that you have a white label of every seminal electroclash 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 an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronan,
Vaughan Mason & Crew,
Black Bananas,
Circle Jerks,
Nils Olav,
H. Thieme,
Von Mondo,
Minor Threat,
Wire,
Flash Fearless,
Oneida,
Patti Smith,
Basic Channel,
Pantytec,
The Index,
Minnie Riperton,
Moss Icon,
Lakeside,
Rod Modell,
Echo & the Bunnymen,
Crime,
the Association,
Eurythmics,
Justin Hinds & The Dominoes,
Ice-T,
The Raincoats,
Aaron Thompson,
Lalo Schifrin,
Pulsallama,
Zapp,
Pussy Galore,
Crispian St. Peters,
Maurizio,
The West Coast Pop Art Experimental Band,
Cecil Taylor,
Malaria!,
Charles Mingus,
The Residents,
Hashim,
Porter Ricks,
Nation of Ulysses,
Dave Gahan,
The Cramps,
Marvin Gaye,
Morten Harket,
The Black Dice,
Fluxion,
Masters at Work,
Pagans,
Kerrie Biddell,
Jesper Dahlback,
Chris Corsano,
Barclay James Harvest,
Sound Behaviour,
Organ,
Aswad,
Lalann,
The Smiths,
Bill Near,
Godley & Creme,
The Sisters of Mercy,
Jesper Dahlbäck,
Nirvana,
Pole, Pole, Pole, Pole.
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.