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 Tajikistan and from Calgary.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Lagos and Lyon.
I'm losing my edge to the art-school Lagos 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 1978 at the first Visage practice in a loft in London.
I was working on the clarinet 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 Talk Talk to the rap kids.
I played it at CBGB's.
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 Zero Boys. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every Ituana record on German import.
I heard that you have a white label of every seminal funk 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 a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
Kayak,
the Sonics,
Scion,
the Fania All-Stars,
The Music Machine,
Ornette Coleman,
The Royal Family And The Poor,
Amon Düül,
Gang Starr,
Amon Düül II,
Dead Boys,
Peter Gordon & Love of Life Orchestra,
Ossler,
H. Thieme,
Idris Muhammad,
Lakeside,
The Dave Clark Five,
Yusef Lateef,
Cluster,
The Mummies,
The Gun Club,
Grandmaster Flash,
The Barracudas,
Audionom,
John Lydon,
Eyeless In Gaza,
Ash Ra Tempel,
Black Flag,
Talk Talk,
Roy Ayers Ubiquity,
K-Klass,
Flipper,
Wolf Eyes,
Reuben Wilson,
Prince Buster,
Lindisfarne,
The Jesus and Mary Chain,
Pierre Henry,
Slick Rick,
The Victims,
Scratch Acid,
Animal Collective,
The Slackers,
The Star Department,
cv313,
Todd Rundgren,
Crash Course in Science,
Deutsch Amerikanische Freundschaft,
Surgeon,
Mark Hollis,
Camouflage,
Fela Kuti,
The Monochrome Set,
Nick Cave & The Bad Seeds,
Reagan Youth,
The Walker Brothers,
Boredoms,
E-Dancer,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.