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 Bosnia Herzegovina and from Jakarta.
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 1975.
I'm losing my edge.
To all the kids in London and Stockholm.
I'm losing my edge to the art-school Edmonton 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 Nile Rodgers 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 Reuben Wilson to the rap kids.
I played it at the Hacienda.
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 Hashim. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Altered Images 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Average White Band record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Rahsaan Roland Kirk,
Lungfish,
Big Daddy Kane,
Patti Smith,
Country Teasers,
Byron Stingily,
Max Romeo,
Sister Nancy,
Symarip,
Kerrie Biddell,
Hoover,
Bizarre Inc.,
Harry Pussy,
Brick,
Marvin Gaye,
The Gladiators,
The Offenders,
Jacques Brel,
Camberwell Now,
Livin' Joy,
The Five Americans,
Jawbox,
The Happenings,
Bootsy Collins,
Lou Reed & John Cale,
Average White Band,
Pole,
Erasure,
Reuben Wilson,
The American Breed,
Stiv Bators,
Sonny Sharrock,
Liaisons Dangereuses,
the Normal,
The Seeds,
The Martian,
Morten Harket,
Whodini,
James Chance & The Contortions,
Inner City,
Lizzy Mercier Descloux,
Darondo,
Davy DMX,
The Slackers,
Chrome,
Scott Walker + Sunn O))),
Monks,
Popol Vuh,
Cabaret Voltaire,
Godley & Creme,
Roxette,
the Soft Cell,
Intrusion,
Kool Moe Dee,
Altered Images,
Rowland S Howard / Lydia Lunch,
Moebius,
Interpol,
Soft Cell,
Sixth Finger,
The Fall,
The Motions,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.