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 Bhutan and from Bremen.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1960 to 1974.
I'm losing my edge.
To all the kids in Bologna and Jakarta.
I'm losing my edge to the art-school Toronto 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 Monks to the rap 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 Scan 7. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Mo-Dettes 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 '90s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Residents record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rufus Thomas,
Dennis Brown,
Graham Central Station,
Dawn Penn,
Skaos,
Funky Four + One,
Scion,
Skriet,
Masters at Work,
The Detroit Cobras,
Sällskapet,
Joe Finger,
the Normal,
Japan,
The Trojans,
Soft Machine,
A Flock of Seagulls,
Scratch Acid,
Charles Mingus,
Buzzcocks,
The Doors,
Derrick Morgan,
Matthew Halsall,
Kurtis Blow,
The Barracudas,
kango's stein massive,
The Slackers,
Mad Mike,
Pete Rock & C.L. Smooth,
Judy Mowatt,
Leonard Cohen,
DJ Style,
The Zeros,
Barclay James Harvest,
The New Christs,
Sun City Girls,
Suburban Knight,
Sexual Harrassment,
Danielle Patucci,
Soulsonic Force,
Lee Hazlewood,
Colin Newman,
Laurel Aitken,
Heaven 17,
Alison Limerick,
The Names,
Ossler,
The Fugs,
Ultramagnetic MC's,
Wighnomy Brothers & Robag Wruhme,
Au Pairs,
Bang on a Can All-Stars,
The Evens,
Model 500,
the Fania All-Stars,
The Index,
Richard Hell and the Voidoids,
Crash Course in Science,
Arcadia,
Rosa Yemen,
Eyeless In Gaza,
T. Rex,
Excepter, Excepter, Excepter, Excepter.
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.