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 Belgium and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Milan and Beijing.
I'm losing my edge to the art-school Lyon 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 rhodes sounds with much patience.
I was there when David Bowie 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 Suicide to the dance kids.
I played it at Trash.
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 Jesper Dahlbäck. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every Porter Ricks 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
EPMD,
Technova,
Pagans,
Darondo,
DJ Style,
UT,
OOIOO,
Junior Murvin,
One Last Wish,
Subhumans,
The Motions,
The Beau Brummels,
Alphaville,
Agitation Free,
The Divine Comedy,
Lalann,
Morten Harket,
Marshall Jefferson,
June Days,
The Sound,
Roger Hodgson,
Derrick May,
Marcia Griffiths,
Marmalade,
Radiopuhelimet,
Deepchord,
Motorama,
Gerry Rafferty,
Jerry's Kids,
Khruangbin,
Eli Mardock,
Angry Samoans,
The Doobie Brothers,
Ituana,
Erasure,
Connie Case,
Sarah Menescal,
Bad Manners,
Bobby Womack,
Deutsch Amerikanische Freundschaft,
Amazonics,
Rekid,
Laurel Aitken,
Gong,
Black Pus,
Camron Feat. Memphis Bleek And Beenie Seigel,
Beasts of Bourbon,
Radio Birdman,
Ice-T,
Roxette,
Major Organ And The Adding Machine,
Cameo,
Aaron Thompson,
The Vogues,
Drexciya,
The Walker Brothers,
The Wake,
Mark Hollis,
Slave,
Saccharine Trust,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.