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 Zimbabwe and from Seoul.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1975.
I'm losing my edge.
To all the kids in London and Tehran.
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 Alice Coltrane to the grime kids.
I played it at Trash.
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 Walker Brothers. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every Kauko Röyhkä ja Narttu record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sun City Girls record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reuben Wilson,
Agent Orange,
Amazonics,
Ronan,
kango's stein massive,
Kool Moe Dee,
The Modern Lovers,
Los Fastidios,
Lee Hazlewood,
Pierre Henry,
Graham Central Station,
Aaron Thompson,
Eric B and Rakim,
The Dead C,
Moss Icon,
Sam Rivers,
Absolute Body Control,
Eli Mardock,
Crash Course in Science,
Manfred Mann's Earth Band,
Supertramp,
UT,
Icehouse,
Gary Puckett & The Union Gap,
Qualms,
Wire,
A Certain Ratio,
Bob Dylan,
Isaac Hayes,
Sun Ra Arkestra,
Whodini,
The Gories,
The Blues Magoos,
Howard Jones,
Main Source,
X-102,
Echospace,
Dorothy Ashby,
The Kinks,
Throbbing Gristle,
Johnny Clarke,
The Last Poets,
The Barracudas,
Swans,
Danielle Patucci,
Ultimate Spinach,
Morten Harket,
It's A Beautiful Day,
Suburban Knight,
Lindisfarne,
John Coltrane,
Barbara Tucker,
Blake Baxter,
Index,
Procol Harum,
Sixth Finger,
Youth Brigade,
Larry & the Blue Notes,
Delta 5,
The Human League,
James White and The Blacks,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.