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 Liechtenstein and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 Woodstock.
I'm losing my edge to the art-school Manila 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 clarinet sounds with much patience.
I was there when Captain Beefheart 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 New Order to the dance kids.
I played it at the Roxy.
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 Harpers Bizarre. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every The Mummies record on German import.
I heard that you have a white label of every seminal jazz 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 a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
James White and The Blacks,
Moss Icon,
Jesper Dahlbäck,
Fifty Foot Hose,
The Mighty Diamonds,
Barrington Levy,
Avey Tare's Slasher Flicks,
Robert Görl,
Henry Cow,
Radiohead,
Lou Reed & Metallica,
Porter Ricks,
The Fall,
Mission of Burma,
Whodini,
Talk Talk,
Yellowson,
Ten City,
Blancmange,
Stiv Bators,
Pharoah Sanders,
Reagan Youth,
Second Layer,
Mark Hollis,
Newcleus,
Terror Squad Feat. Camron,
Rites of Spring,
The Moody Blues,
The Busters,
Visage,
The Cramps,
Cameo,
Bluetip,
Cal Tjader,
Throbbing Gristle,
Skaos,
Section 25,
Fear,
Rufus Thomas,
Amon Düül II,
Toni Rubio,
Minny Pops,
Danielle Patucci,
Glenn Branca,
Funkadelic,
Duran Duran,
Pulsallama,
Scrapy,
Intrusion,
Orchestral Manoeuvres in the Dark,
The Remains,
John Coltrane,
Television Personalities,
Peter Gordon & Love of Life Orchestra,
the Human League,
Yaz,
Saccharine Trust,
Gerry Rafferty,
Bill Near,
Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim.
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.