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 Suriname and from Lyon.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Lille and Shanghai.
I'm losing my edge to the art-school Spokane 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 sitar 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 Boredoms to the punk 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 The Victims. All the underground hits.
All the Sonics tracks. I heard you have a vinyl of every The Divine Comedy record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Simply Red record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
The Move,
Negative Approach,
Masters at Work,
Morten Harket,
the Soft Cell,
Ronan,
Notorious Big And Bone Thugs,
Donny Hathaway,
The Seeds,
Basic Channel,
PIL,
Tropical Tobacco,
Theoretical Girls,
The Vogues,
Kaleidoscope,
The Cramps,
Rufus Thomas,
Scratch Acid,
Ponytail,
Flash Fearless,
Agitation Free,
Interpol,
the Sonics,
Lizzy Mercier Descloux,
Procol Harum,
Deadbeat,
B.T. Express,
Pole,
Pete Rock & C.L. Smooth,
Swans,
ABC,
Popol Vuh,
Mark Hollis,
Lou Reed,
Ohio Players,
Justin Hinds & The Dominoes,
The Jesus and Mary Chain,
Blossom Toes,
Beasts of Bourbon,
Sex Pistols,
Crash Course in Science,
Roxy Music,
The United States of America,
JFA,
Glambeats Corp.,
Duran Duran,
Grey Daturas,
H. Thieme,
Eurythmics,
The Victims,
Parry Music,
Panda Bear,
Grauzone,
Marine Girls,
Wally Richardson,
Stockholm Monsters,
The Gories,
Electric Light Orchestra,
The Pretty Things,
Matthew Bourne,
Crooked Eye,
Crispy Ambulance, Crispy Ambulance, Crispy Ambulance, Crispy Ambulance.
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.