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 Liberia and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Bologna.
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 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 Dawn Penn to the rap kids.
I played it at CBGB's.
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 Smiths. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every Barry Ungar record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
China Crisis,
Pagans,
Oneida,
Erykah Badu,
Section 25,
Radiopuhelimet,
The Fugs,
The Doors,
Gang Starr,
The Invisible,
8 Eyed Spy,
Lee Hazlewood,
Moss Icon,
The Smiths,
Agitation Free,
Parry Music,
Shuggie Otis,
Boredoms,
Slave,
Gang Gang Dance,
The Dirtbombs,
Lou Reed & John Cale,
Negative Approach,
Henry Cow,
Tom Boy,
Inner City,
Lonnie Liston Smith,
Urselle,
June Days,
Don Cherry,
Trumans Water,
The Royal Family And The Poor,
Ludus,
The Beau Brummels,
Tomorrow,
The Tremeloes,
Hasil Adkins,
The Fire Engines,
Godley & Creme,
Rekid,
A Flock of Seagulls,
Interpol,
The Raincoats,
Bush Tetras,
The Star Department,
Sarah Menescal,
David Axelrod,
Basic Channel,
The Buckinghams,
Kurtis Blow,
Unrelated Segments,
Peter & Gordon,
Kerrie Biddell,
The Real Kids,
Amon Düül II,
Matthew Bourne,
Eric Dolphy,
Thee Headcoats,
Cybotron,
Major Organ And The Adding Machine,
Cameo,
Idris Muhammad,
Dr. Dre and Snoop Doggy Dog,
Sonic Youth, Sonic Youth, Sonic Youth, Sonic Youth.
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.