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 Bahrain and from Houston.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 Sao Paulo and Woodstock.
I'm losing my edge to the art-school Salvador 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 guitar 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 Eddi Front to the techno 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 Jacques Brel. All the underground hits.
All Jerry's Kids tracks. I heard you have a vinyl of every The Index 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Age Steppers,
Deepchord,
Glambeats Corp.,
The Men They Couldn't Hang,
Mad Mike,
Eli Mardock,
Anthony Braxton,
Con Funk Shun,
Spoonie Gee,
Gang Starr,
the Soft Cell,
Scott Walker,
Kas Product,
Metal Thangz,
Rod Modell,
Richard Hell and the Voidoids,
Marcia Griffiths,
Minutemen,
Symarip,
The Busters,
La Düsseldorf,
Crispian St. Peters,
The Neon Judgement,
The Barracudas,
The Vogues,
the Normal,
Grandmaster Flash and the Furious Five,
Sad Lovers and Giants,
Larry & the Blue Notes,
Stereo Dub,
The Sonics,
The New Christs,
Boogie Down Productions,
Nik Kershaw,
The Cramps,
Pussy Galore,
Unwound,
The Sisters of Mercy,
Donald Byrd,
Eric Dolphy,
A Flock of Seagulls,
Crime,
Animal Collective,
Roxette,
Johnny Osbourne,
The Gun Club,
The Monks,
Warsaw,
B.T. Express,
F. McDonald,
Cabaret Voltaire,
The Chocolate Watch Band,
John Foxx,
Chris Corsano,
Faraquet,
Ice-T,
The Knickerbockers,
Dave Gahan,
Pete Rock & C.L. Smooth,
Alice Coltrane,
KRS-One,
Rotary Connection,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.