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 Glasgow.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1971.
I'm losing my edge.
To all the kids in Toronto and Shanghai.
I'm losing my edge to the art-school Houston 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 sitar 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 Skarface to the grime 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 Magazine. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal electroclash 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 a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Agitation Free record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
Quadrant,
Nas,
Newcleus,
Amon Düül,
Colin Newman,
Lucky Dragons,
Pharaoh Sanders and the Fire Engines,
Alphaville,
Boogie Down Productions,
The Toasters,
Glenn Branca,
Suburban Knight,
Gang Starr,
Electric Prunes,
It's A Beautiful Day,
June Days,
Be Bop Deluxe,
Icehouse,
Nick Cave & The Bad Seeds,
Marcia Griffiths,
Magma,
Ituana,
Angry Samoans,
Can,
Jerry's Kids,
Robert Görl,
Sly & The Family Stone,
Little Man,
Tomorrow,
Aswad,
The Last Poets,
Qualms,
Franke,
Vaughan Mason & Crew,
The Wake,
Sight & Sound,
Heavy D & The Boyz,
Chrome,
Television Personalities,
Second Layer,
The Fall,
Tropical Tobacco,
Tears for Fears,
Funkadelic,
Avey Tare,
Selector Dub Narcotic,
Brass Construction,
Black Sheep,
Richard Hell and the Voidoids,
Kayak,
Barrington Levy,
Minutemen,
Lebanon Hanover,
Thinking Fellers Union Local 282,
Los Fastidios,
Marc Almond,
Henry Cow,
The Gap Band,
the Germs,
Liliput, Liliput, Liliput, Liliput.
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.