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 Gambia and from Taipei.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Manchester and Edmonton.
I'm losing my edge to the art-school Stockholm 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Remains to the techno 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 Bill Wells. All the underground hits.
All The Angels of Light tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
H. Thieme,
Lucky Dragons,
The Detroit Cobras,
Essential Logic,
The Monochrome Set,
Blancmange,
Maurizio,
Smog,
The Divine Comedy,
Crime,
Derrick May,
Sonic Youth,
Fad Gadget,
Dave Gahan,
Lindisfarne,
Buzzcocks,
Pylon,
The Fortunes,
Magazine,
Kevin Saunderson,
Loose Ends,
Trumans Water,
The Zeros,
Icehouse,
The Standells,
The Royal Family And The Poor,
Max Romeo,
Grandmaster Flash and the Furious Five,
Average White Band,
Kings Of Tomorrow,
Heavy D & The Boyz,
Gabor Szabo,
Sun Ra Arkestra,
Q65,
Masters at Work,
Gerry Rafferty,
Lou Christie,
Black Moon,
DeepChord presents Echospace,
the Fania All-Stars,
Fugazi,
Royal Trux,
Drexciya,
Joe Smooth,
Nas,
Quantec,
Scientists,
The Golliwogs,
KRS-One,
Ponytail,
One Last Wish,
Lizzy Mercier Descloux,
Quadrant,
Marmalade,
Absolute Body Control,
This Heat,
Marvin Gaye,
Judy Mowatt,
The Seeds,
Accadde A,
Orchestral Manoeuvres in the Dark,
Little Man,
10cc, 10cc, 10cc, 10cc.
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.