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 Antigua and from Columbus.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1964 to 1976.
I'm losing my edge.
To all the kids in Columbus and Madrid.
I'm losing my edge to the art-school Taipei 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the clarinet 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 Ice-T to the dance kids.
I played it at the 40 Watt.
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 Richard Hell and the Voidoids. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every The Selecter 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 '60s cut and another box set from the '70s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Durutti Column,
Rhythm & Sound,
Bluetip,
Quantec,
The Martian,
The Remains,
Idris Muhammad,
Sad Lovers and Giants,
Bad Manners,
June of 44,
Aural Exciters,
Massinfluence,
Slick Rick,
Technova,
Fatback Band,
Crispy Ambulance,
The Divine Comedy,
The Smiths,
Art Ensemble Of Chicago,
Yellowson,
Silicon Teens,
Aloha Tigers,
The Monochrome Set,
Swell Maps,
The Jesus and Mary Chain,
Circle Jerks,
Cabaret Voltaire,
Matthew Bourne,
Fort Wilson Riot,
MDC,
Don Cherry,
The Neon Judgement,
Dennis Brown,
the Swans,
Bobby Byrd,
Pierre Henry,
Man Parrish,
Malaria!,
UT,
Graham Central Station,
The Red Krayola,
Selector Dub Narcotic,
Adolescents,
Glambeats Corp.,
Sunsets and Hearts,
Blossom Toes,
Y Pants,
Kenny Larkin,
Kayak,
Zero Boys,
Pagans,
The Last Poets,
Grandmaster Flash,
Donny Hathaway,
The Evens,
Danielle Patucci,
The Fall,
The Count Five,
Gil Scott-Heron & Brian Jackson,
Pulsallama,
Simply Red,
Pantaleimon,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.