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 Tuvalu and from Portland.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Bremen.
I'm losing my edge to the art-school Portland 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 chamberlin 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 Sound Behaviour to the dance kids.
I played it at the Spitz.
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 The Misunderstood. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Kas Product record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
Siglo XX,
Cymande,
Aloha Tigers,
Oppenheimer Analysis,
Dual Sessions,
Sunsets and Hearts,
Ice-T,
Rufus Thomas,
Wighnomy Brothers & Robag Wruhme,
Buzzcocks,
Sticky Fingaz feat. Raekwon,
Amon Düül,
The Cowsills,
the Fania All-Stars,
The West Coast Pop Art Experimental Band,
Lizzy Mercier Descloux,
Monks,
H. Thieme,
Youth Brigade,
The Gories,
AZ,
Severed Heads,
Eric Copeland,
Reuben Wilson,
The Cosmic Jokers,
Soul Sonic Force,
Agent Orange,
Eurythmics,
Matthew Bourne,
OOIOO,
Mr. Review,
Marshall Jefferson,
James White and The Blacks,
Nico,
Grey Daturas,
Eli Mardock,
Outsiders,
Blossom Toes,
Sex Pistols,
Ronnie Foster,
Deakin,
Flamin' Groovies,
The Remains,
Yaz,
Deepchord,
Moby Grape,
Country Teasers,
Moss Icon,
Marmalade,
David McCallum,
Dead Boys,
The Sound,
Ohio Players,
Jeff Mills,
Scratch Acid,
Heaven 17,
Stetsasonic,
Slave,
Iggy Pop,
Oblivians,
Wire, Wire, Wire, Wire.
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.