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 Marshall Islands and from Hong Kong.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Portland and Bremen.
I'm losing my edge to the art-school Cairo 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 1978 at the first Visage practice in a loft in London.
I was working on the synthesizer 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 Sun City Girls to the crunk 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 Heavy D & The Boyz. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Big Daddy Kane record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Scientists record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eden Ahbez,
Scan 7,
Guru Guru,
Minny Pops,
Stockholm Monsters,
Con Funk Shun,
New York Dolls,
Connie Case,
Average White Band,
Derrick May,
Susan Cadogan,
Ultravox,
Television,
Rotary Connection,
Drive Like Jehu,
Ronnie Foster,
Todd Rundgren,
Livin' Joy,
Glenn Branca,
Lizzy Mercier Descloux,
The Moleskins,
Funkadelic,
Marvin Gaye,
Masters at Work,
Girls At Our Best!,
The United States of America,
Angels of Light & Akron/Family,
The Detroit Cobras,
Bobby Sherman,
Malaria!,
Ossler,
Wally Richardson,
Gil Scott-Heron and Jamie xx,
The Velvet Underground,
The Mojo Men,
Dawn Penn,
Beasts of Bourbon,
Robert Görl,
Skriet,
Judy Mowatt,
Scrapy,
X-102,
the Slits,
The Five Americans,
Unwound,
La Düsseldorf,
Nico,
Mr. Review,
Minnie Riperton,
Qualms,
John Foxx,
John Cale,
Gabor Szabo,
The Pop Group,
Moebius,
The Sisters of Mercy,
10cc,
Fela Kuti,
Black Bananas,
Fad Gadget,
Stetsasonic,
Junior Murvin,
Moss Icon,
DNA, DNA, DNA, DNA.
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.