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 Algeria and from Glasgow.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1975.
I'm losing my edge.
To all the kids in Tehran and Glasgow.
I'm losing my edge to the art-school Bologna 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 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 Bobby Byrd 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 Kerri Chandler. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every Eddi Front record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kaleidoscope,
Heavy D & The Boyz,
Chrome,
Soft Cell,
Steve Hackett,
Country Joe & The Fish,
Sad Lovers and Giants,
Harmonia,
Subhumans,
Girls At Our Best!,
Crooked Eye,
The Music Machine,
Ultra Naté,
The Flesh Eaters,
Larry & the Blue Notes,
James White and The Blacks,
The Black Dice,
Magma,
The New Christs,
Ultramagnetic MC's,
Gerry Rafferty,
Franke,
Alison Limerick,
Make Up,
Faust,
Bill Wells,
Lindisfarne,
Trumans Water,
Strawberry Alarm Clock,
Radiohead,
the Sonics,
The Skatalites,
The Remains,
Eddi Front,
The Blues Magoos,
Scott Walker + Sunn O))),
Marine Girls,
The Peanut Butter Conspiracy,
Matthew Halsall,
Marvin Gaye,
Nico,
Justin Hinds & The Dominoes,
Drexciya,
The Beau Brummels,
JFA,
Brand Nubian,
Todd Terry,
Mission of Burma,
Absolute Body Control,
Sexual Harrassment,
Accadde A,
Gichy Dan,
Q and Not U,
R.M.O.,
Jeru the Damaja,
Andrew Ashong & Theo Parrish,
The Motions,
The Men They Couldn't Hang,
Ken Boothe,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.