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 Bulgaria and from Halifax.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Stockholm.
I'm losing my edge to the art-school Halifax 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 synthesizer 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 The Standells to the disco kids.
I played it at Cafe Wha.
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 Slave. All the underground hits.
All Faust tracks. I heard you have a vinyl of every The Fuzztones 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
the Human League,
The Walker Brothers,
New Age Steppers,
Minor Threat,
Fela Kuti,
The Motions,
Eric Dolphy,
Technova,
Panda Bear,
KRS-One,
Ultramagnetic MC's,
Sonic Youth,
The Cowsills,
The Wake,
Danielle Patucci,
Rowland S Howard / Lydia Lunch,
The Alarm Clocks,
48th St. Collective,
Duran Duran,
Liaisons Dangereuses,
The Associates,
Echospace,
Juan Atkins,
The Men They Couldn't Hang,
Y Pants,
Lakeside,
Eddi Front,
Todd Rundgren,
Ash Ra Tempel,
Goldenarms,
The United States of America,
Yaz,
The Peanut Butter Conspiracy,
Kurtis Blow,
Crash Course in Science,
Matthew Bourne,
Marc Romboy vs. Booka Shade,
Black Bananas,
Magma,
Yusef Lateef,
Fat Boys,
Oblivians,
Eric B and Rakim,
The Durutti Column,
Bauhaus,
Byron Stingily,
Spandau Ballet,
Ten City,
A Flock of Seagulls,
Bootsy's Rubber Band,
Boredoms,
Ultra Naté,
Bizarre Inc.,
John Cale,
Black Flag,
Lalann,
Cymande,
Quadrant,
the Slits,
Peter & Gordon,
10cc, 10cc, 10cc, 10cc.
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.