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 Haiti and from Seoul.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Bremen and Lyon.
I'm losing my edge to the art-school Glasgow 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 rhodes 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 Zapp to the rap kids.
I played it at the Troubador.
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 Audionom. All the underground hits.
All Eric B and Rakim tracks. I heard you have a vinyl of every kango's stein massive record on German import.
I heard that you have a white label of every seminal rock 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 mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
The Misunderstood,
Rakim,
It's A Beautiful Day,
Porter Ricks,
David Bowie,
ABBA,
Darondo,
Danielle Patucci,
Robert Wyatt,
Simply Red,
Thee Headcoats,
Echo & the Bunnymen,
Curtis Mayfield,
the Normal,
Black Flag,
the Sonics,
Pet Shop Boys,
Rosa Yemen,
Bill Wells,
Depeche Mode,
The Pop Group,
Kurtis Blow,
Can,
Essential Logic,
Sixth Finger,
Peter Gordon & Love of Life Orchestra,
Chris & Cosey,
Wighnomy Brothers & Robag Wruhme,
The Happenings,
Whodini,
Grey Daturas,
Outsiders,
Aural Exciters,
Supertramp,
Electric Prunes,
Dawn Penn,
Lonnie Liston Smith,
Animal Collective,
Alton Ellis,
Babytalk,
The Real Kids,
Deakin,
David Axelrod,
Maleditus Sound,
The Kinks,
Skaos,
Fort Wilson Riot,
The Slackers,
Bobby Hutcherson,
Jeff Lynne,
The Neon Judgement,
Bad Manners,
This Heat,
Cameo,
Alphaville,
Teenage Jesus and the Jerks,
Bauhaus,
Mo-Dettes,
These Immortal Souls,
Bootsy Collins,
Joey Negro,
Derrick May,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.