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 Moldova and from Stockholm.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1972.
I'm losing my edge.
To all the kids in Copenhagen and Bologna.
I'm losing my edge to the art-school Jakarta 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 Derrick Morgan to the rap 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 Circle Jerks. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal techno 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 harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Gabor Szabo,
Arthur Verocai,
Television,
Rhythim Is Rhythim,
The Monochrome Set,
Hardrive,
Frankie Knuckles,
Vaughan Mason & Crew,
Quadrant,
Kerrie Biddell,
the Slits,
New York Dolls,
B.T. Express,
DNA,
Lou Reed & John Cale,
Marc Almond,
The Misunderstood,
Joe Smooth,
Strawberry Alarm Clock,
John Foxx,
La Düsseldorf,
Crispian St. Peters,
Richard Hell and the Voidoids,
The Fugs,
Pole,
The Flesh Eaters,
Talk Talk,
The Raincoats,
The Gladiators,
ABC,
Crash Course in Science,
The Zeros,
Vainqueur,
Stockholm Monsters,
Eddi Front,
kango's stein massive,
Josef K,
Brothers Johnson,
Lee Hazlewood,
Siouxsie and the Banshees,
Siglo XX,
The Slackers,
The Kinks,
Ice-T,
The Moleskins,
X-101,
In Retrospect,
Ken Boothe,
Gong,
Cheater Slicks,
Pylon,
Country Teasers,
Dorothy Ashby,
Absolute Body Control,
Bronski Beat,
The Smiths,
The Invisible,
Boredoms,
Jerry's Kids,
Bauhaus,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.