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 Czech Republic and from Manila.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1973.
I'm losing my edge.
To all the kids in Tehran and Copenhagen.
I'm losing my edge to the art-school Columbus 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 Holger Czukay 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 John Lydon to the rap 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 Pulsallama. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every T.S.O.L. 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Monks record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
The Star Department,
Fad Gadget,
Matthew Bourne,
Rotary Connection,
D'Angelo,
Peter & Gordon,
The Monochrome Set,
PIL,
Angry Samoans,
Mark Hollis,
Erasure,
Shoche,
Kings Of Tomorrow,
Grandmaster Flash,
Pharoah Sanders,
The Sisters of Mercy,
Swell Maps,
Agent Orange,
8 Eyed Spy,
X-Ray Spex,
Matthew Halsall,
Barry Ungar,
Soft Cell,
Royal Trux,
Yellowson,
Make Up,
Glambeats Corp.,
Ultra Naté,
Girls At Our Best!,
Flamin' Groovies,
Prince Buster,
David Axelrod,
Man Eating Sloth,
Gang Starr,
Lou Reed,
ABC,
Roy Ayers,
Jawbox,
Lalann,
the Sonics,
Traffic Nightmare,
The Pop Group,
Bootsy Collins,
The Raincoats,
The Electric Prunes,
Jeru the Damaja,
Second Layer,
Notorious BIG live in Amsterdam,
Main Source,
Max Romeo,
F. McDonald,
Ornette Coleman,
Niagra,
The Blues Magoos,
The American Breed,
Lindisfarne,
JFA,
Lakeside,
Alison Limerick,
Magazine,
Sunsets and Hearts,
Electric Light Orchestra,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.