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 Bolivia and from Manila.
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 1971.
I'm losing my edge.
To all the kids in Mexico City and Stockholm.
I'm losing my edge to the art-school Mexico City 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 at the first Suicide practice in a loft in New York.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Soulsonic Force 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 Deadbeat. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Unwound 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 '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a L. Decosne record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Barry Ungar,
Laurel Aitken,
Rotary Connection,
MC5,
Girls At Our Best!,
Ten City,
the Swans,
Todd Terry,
Drexciya,
Eden Ahbez,
June Days,
Au Pairs,
The Associates,
Grandmaster Flash,
These Immortal Souls,
The Cure,
Malaria!,
Can,
Pierre Henry,
Roxy Music,
Harmonia,
X-102,
Harpers Bizarre,
Kaleidoscope,
Faraquet,
Soulsonic Force,
Public Image Ltd.,
Wally Richardson,
Mantronix,
H. Thieme,
the Slits,
Theoretical Girls,
The Divine Comedy,
The Litter,
Eric Copeland,
the Association,
The Doors,
The Gladiators,
Angry Samoans,
Vaughan Mason & Crew,
Jeff Mills,
Sixth Finger,
Swell Maps,
Leonard Cohen,
Niagra,
Bronski Beat,
Wolf Eyes,
Joyce Sims,
Bizarre Inc.,
Bill Near,
ABBA,
Andrew Hill,
James White and The Blacks,
48th St. Collective,
The West Coast Pop Art Experimental Band,
B.T. Express,
Boredoms,
Lee Hazlewood,
Dave Gahan,
Thinking Fellers Union Local 282,
Nico, Nico, Nico, Nico.
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.