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 St Lucia and from Woodstock.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1969 to 1975.
I'm losing my edge.
To all the kids in Madrid and Calgary.
I'm losing my edge to the art-school Shanghai 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 snare 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 Connie Case to the dance 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 Soft Cell. All the underground hits.
All Vainqueur tracks. I heard you have a vinyl of every Can 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Niagra,
Bad Manners,
Cabaret Voltaire,
Arcadia,
Slick Rick,
Big Daddy Kane,
Steve Hackett,
Pole,
Dennis Brown,
Gil Scott Heron,
Alison Limerick,
Fatback Band,
D'Angelo,
Clear Light,
De La Soul & Jungle Brothers,
Leonard Cohen,
Tim Buckley,
Nation of Ulysses,
The American Breed,
The Chocolate Watch Band,
Pierre Henry,
Wolf Eyes,
The Skatalites,
Joe Finger,
Agent Orange,
The Sisters of Mercy,
The Misunderstood,
Rufus Thomas,
The Wake,
The Offenders,
Underground Resistance,
Bush Tetras,
Crispian St. Peters,
Yellowson,
Magazine,
The Move,
Bang on a Can All-Stars,
The Cowsills,
The Happenings,
Heavy D & The Boyz,
Roger Hodgson,
Kerrie Biddell,
DNA,
Lafayette Afro Rock Band,
Ultimate Spinach,
Harmonia,
Kaleidoscope,
China Crisis,
Little Man,
Faust,
Stiv Bators,
Easy Going,
Jesper Dahlback,
the Soft Cell,
Alphaville,
The Human League,
Oppenheimer Analysis,
Eddi Front,
Susan Cadogan,
The Slackers,
Jeru the Damaja,
Matthew Halsall,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.