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 Barbados and from Toronto.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Columbus.
I'm losing my edge to the art-school Glasgow 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 Lou Reed 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 Negative Approach 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 Ossler. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every Frankie Knuckles record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Japan,
Cybotron,
Grey Daturas,
John Lydon,
John Holt,
Black Bananas,
The Cure,
The Seeds,
Frankie Knuckles,
The Moleskins,
In Retrospect,
The Mighty Diamonds,
Alton Ellis,
Throbbing Gristle,
The Golliwogs,
Public Enemy,
Bluetip,
Max Romeo,
Franke,
Yusef Lateef,
The Buckinghams,
8 Eyed Spy,
The Smiths,
Public Image Ltd.,
Wolf Eyes,
Minor Threat,
Gil Scott-Heron & Brian Jackson,
Harry Pussy,
Ronan,
Electric Prunes,
Louis and Bebe Barron,
Rotary Connection,
Swans,
The Gun Club,
Deepchord,
Röyhkä ja Rättö ja Lehtisalo,
Patti Smith,
Kool Moe Dee,
Crispy Ambulance,
Television Personalities,
Slick Rick,
Sad Lovers and Giants,
Notorious Big And Bone Thugs,
Man Parrish,
The Associates,
Ash Ra Tempel,
Cheater Slicks,
Malaria!,
A Flock of Seagulls,
the Slits,
The Techniques,
Deakin,
Crime,
Half Japanese,
Avey Tare & Kría Brekkan,
The Fire Engines,
The Blues Magoos,
Pulsallama,
Donny Hathaway,
Althea and Donna,
Oneida,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.