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 Ecuador and from Manchester.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Seoul.
I'm losing my edge to the art-school Edmonton 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 harpsichord 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 Bill Wells to the techno kids.
I played it at the Crocodile.
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 Janne Schatter. All the underground hits.
All Rahsaan Roland Kirk tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
Zero Boys,
Marc Almond,
The Selecter,
Hardrive,
Minny Pops,
Grandmaster Flash,
Rhythm & Sound,
Circle Jerks,
Amon Düül,
Crash Course in Science,
Roy Ayers,
The Techniques,
June Days,
Section 25,
Masters at Work,
Minutemen,
Fear,
Arcadia,
Chris & Cosey,
New York Dolls,
Kaleidoscope,
Gian Franco Pienzio,
Urselle,
Severed Heads,
Chrome,
the Fania All-Stars,
Mary Jane Girls,
UT,
Brass Construction,
Tropical Tobacco,
Japan,
Sly & The Family Stone,
Siglo XX,
The Smiths,
Marshall Jefferson,
Ultravox,
Organ,
Henry Cow,
Skarface,
Sarah Menescal,
Visage,
Brand Nubian,
Gang Starr,
Funky Four + One,
Soul II Soul,
Barry Ungar,
Q and Not U,
Man Eating Sloth,
Clear Light,
The Last Poets,
Pulsallama,
Blossom Toes,
Rotary Connection,
Heavy D & The Boyz,
The Wake,
The Buckinghams,
Tres Demented,
The Dave Clark Five,
Wings,
Qualms,
Kango’s Stein Massive,
Bluetip, Bluetip, Bluetip, Bluetip.
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.