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 Korea South and from Beijing.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Toronto and Madrid.
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 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 Tom Verlaine 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 Gories to the punk kids.
I played it at the Hacienda.
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 Busters. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every Maleditus Sound record on German import.
I heard that you have a white label of every seminal rap 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 clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
Brand Nubian,
EPMD,
Von Mondo,
Gerry Rafferty,
David Bowie,
Pet Shop Boys,
Lakeside,
X-101,
Crime,
Scion,
Josef K,
DNA,
The Star Department,
Mandrill,
Agent Orange,
DeepChord presents Echospace,
The Cramps,
Cabaret Voltaire,
F. McDonald,
Lalann,
Ultramagnetic MC's,
The Gories,
Bauhaus,
Joyce Sims,
Donald Byrd,
Au Pairs,
DJ Sneak,
Marine Girls,
Crooked Eye,
Harmonia,
Pharoah Sanders,
Maurizio,
Blake Baxter,
Rahsaan Roland Kirk,
Eddi Front,
Joe Finger,
Fatback Band,
Model 500,
AZ,
Masters at Work,
The Durutti Column,
Marc Almond,
Pete Rock & C.L. Smooth,
Tears for Fears,
Shuggie Otis,
cv313,
Darondo,
the Germs,
Second Layer,
Dawn Penn,
Little Man,
Livin' Joy,
John Holt,
Lou Reed,
the Human League,
Minny Pops,
Ralphi Rosario,
Zero Boys,
the Association, the Association, the Association, the Association.
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.