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 Kitts & Nevis and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1969 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Edmonton.
I'm losing my edge to the art-school Hong Kong 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the spring reverb 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 Chris Corsano to the rock kids.
I played it at the Astoria.
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 Jesper Dahlbäck. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Jawbox record on German import.
I heard that you have a white label of every seminal rock 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 clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
Saccharine Trust,
Echo & the Bunnymen,
Warsaw,
Loose Ends,
MC5,
The Dirtbombs,
Moss Icon,
Skaos,
Spandau Ballet,
Lebanon Hanover,
Althea and Donna,
Skarface,
Mad Mike,
New York Dolls,
Terrestrial Tones,
Siouxsie and the Banshees,
A Certain Ratio,
John Foxx,
Young Marble Giants,
Adolescents,
The Chocolate Watch Band,
The Misunderstood,
Mary Jane Girls,
Lizzy Mercier Descloux,
The Saints,
The Techniques,
Ajijia Myrayebe,
Matthew Bourne,
Grandmaster Flash,
Minny Pops,
Urselle,
Schoolly D,
John Coltrane,
Grey Daturas,
The Black Dice,
ABC,
Blake Baxter,
The Tremeloes,
Marvin Gaye,
Bronski Beat,
John Holt,
Cluster,
The Motions,
Ken Boothe,
Piero Umiliani,
Bobby Byrd,
Kerrie Biddell,
Radiohead,
Gichy Dan,
Crime,
Sugar Minott,
OOIOO,
The Doors,
Los Fastidios,
Gang Starr,
Marc Romboy vs. Booka Shade,
The Fire Engines,
Beasts of Bourbon,
Tubeway Army, Tubeway Army, Tubeway Army, Tubeway Army.
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.