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 Mauritius and from Lagos.
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 1962 to 1977.
I'm losing my edge.
To all the kids in New York and Cairo.
I'm losing my edge to the art-school Lyon 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 guitar 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 Selector Dub Narcotic to the funk kids.
I played it at the Troubador.
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 Little Man. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every In Retrospect record on German import.
I heard that you have a white label of every seminal grunge 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 theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Avey Tare & Kría Brekkan,
Sugar Minott,
the Soft Cell,
Rowland S Howard / Lydia Lunch,
D'Angelo,
Terrestrial Tones,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Brothers Johnson,
Danielle Patucci,
Babytalk,
Notorious Big And Bone Thugs,
Infiniti,
Nick Cave & The Bad Seeds,
Vainqueur,
The Misunderstood,
Public Image Ltd.,
James Chance & The Contortions,
Gil Scott Heron,
a-ha,
Popol Vuh,
Funky Four + One,
Brick,
Ajijia Myrayebe,
Alphaville,
Lower 48,
Clear Light,
The Evens,
Porter Ricks,
The Associates,
Warren Ellis,
MC5,
Cal Tjader,
Parry Music,
Royal Trux,
Panda Bear,
The Fall,
Bad Manners,
The Doobie Brothers,
Scion,
Magma,
Nik Kershaw,
The Walker Brothers,
Technova,
Ronnie Foster,
The Velvet Underground,
Q and Not U,
the Fania All-Stars,
The Music Machine,
DNA,
The Happenings,
One Last Wish,
Eric B and Rakim,
Marmalade,
Ultravox,
Pierre Henry,
Pulsallama,
Talk Talk,
Faust,
Black Moon,
Peter and Kerry,
Orchestral Manoeuvres in the Dark,
The Jesus and Mary Chain,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.