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 Macedonia and from Bologna.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1974.
I'm losing my edge.
To all the kids in Halifax and Salvador.
I'm losing my edge to the art-school Shanghai 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 1984 at the first Arcadia practice in a loft in London.
I was working on the güiro 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 Scan 7 to the dance 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 Bobbi Humphrey. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every Main Source 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 '70s cut and another box set from the '90s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
Desert Stars,
Ohio Players,
Richard Hell and the Voidoids,
Roger Hodgson,
Delta 5,
Barbara Tucker,
The Leaves,
Toni Rubio,
Hardrive,
Wighnomy Brothers & Robag Wruhme,
Audionom,
The Gladiators,
Manfred Mann's Earth Band,
R.M.O.,
Kool G Rap & DJ Polo,
Fear,
Bootsy Collins,
Susan Cadogan,
Groovy Waters,
Excepter,
Ponytail,
The Residents,
Tears for Fears,
These Immortal Souls,
Fugazi,
Can,
This Heat,
Throbbing Gristle,
The Wake,
The Five Americans,
Sandy B,
The Music Machine,
the Soft Cell,
Lizzy Mercier Descloux,
Con Funk Shun,
Black Moon,
Kango’s Stein Massive,
Beasts of Bourbon,
Japan,
The Moleskins,
Yazoo,
Byron Stingily,
Barclay James Harvest,
Michelle Simonal,
The J.B.'s,
Yellowson,
T.S.O.L.,
Godley & Creme,
Siouxsie and the Banshees,
Sam Rivers,
Alice Coltrane,
Suicide,
The Alarm Clocks,
Supertramp,
David Axelrod,
Bill Near,
Nik Kershaw,
Frankie Knuckles,
Crispy Ambulance,
Rosa Yemen,
Louis and Bebe Barron,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.