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 Azerbaijan and from Shanghai.
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 1978.
I'm losing my edge.
To all the kids in London and Philadelphia.
I'm losing my edge to the art-school New York 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 808 sounds with much patience.
I was there when Captain Beefheart 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 Chris & Cosey to the grunge 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 Red Lorry Yellow Lorry. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Brand Nubian 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Royal Trux record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
James White and The Blacks,
Avey Tare's Slasher Flicks,
Amon Düül,
Kevin Saunderson,
The Dead C,
Reuben Wilson,
Tears for Fears,
48th St. Collective,
a-ha,
Radiopuhelimet,
Henry Cow,
Rekid,
Fear,
Essential Logic,
Lebanon Hanover,
Nas,
Brothers Johnson,
Camouflage,
Monks,
the Association,
Louis and Bebe Barron,
Altered Images,
Iggy Pop,
Eyeless In Gaza,
Angels of Light & Akron/Family,
B.T. Express,
Reagan Youth,
Minutemen,
Faraquet,
The Monks,
Skarface,
The Fugs,
The Alarm Clocks,
Bobby Byrd,
Simply Red,
Easy Going,
Lonnie Liston Smith,
Dead Boys,
Crooked Eye,
Liliput,
Eden Ahbez,
Carl Craig,
Massinfluence,
Lyres,
Curtis Mayfield,
Letta Mbulu,
Marc Almond,
Lakeside,
OOIOO,
Lou Christie,
Inner City,
Television Personalities,
Depeche Mode,
Gong,
Agent Orange,
Zapp,
H. Thieme,
The Knickerbockers,
The Cowsills,
Eddi Front,
Matthew Halsall,
The Evens, The Evens, The Evens, The Evens.
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.