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 South Africa and from New York.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Milan and Cairo.
I'm losing my edge to the art-school Columbus 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 808 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 Ultra Naté to the rock kids.
I played it at the Roxy.
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 Ten City. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every John Cale record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reuben Wilson,
Marine Girls,
Eddi Front,
Outsiders,
Siglo XX,
James Chance & The Contortions,
Robert Wyatt,
Blake Baxter,
Throbbing Gristle,
the Bar-Kays,
Public Enemy,
The Doors,
Oppenheimer Analysis,
Cabaret Voltaire,
Dorothy Ashby,
the Soft Cell,
Sandy B,
Soft Cell,
Talk Talk,
Organ,
Be Bop Deluxe,
Popol Vuh,
The Techniques,
The Misunderstood,
Fear,
The Barracudas,
Deadbeat,
The Smoke,
Idris Muhammad,
The Blackbyrds,
The Move,
Big Daddy Kane,
Spandau Ballet,
Jacques Brel,
Warsaw,
The Wake,
Pole,
Man Eating Sloth,
The Beau Brummels,
Pussy Galore,
Fifty Foot Hose,
10cc,
Bobby Byrd,
The Smiths,
Simply Red,
Ajijia Myrayebe,
Nas,
Eric Copeland,
Faust,
The Flesh Eaters,
The Divine Comedy,
Suburban Knight,
Blancmange,
Pharaoh Sanders and the Fire Engines,
48th St. Collective,
The Sisters of Mercy,
Nick Cave & The Bad Seeds,
John Coltrane,
Avey Tare's Slasher Flicks,
Cameo,
Scientists, Scientists, Scientists, Scientists.
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.