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 Kyrgyzstan and from Paris.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Copenhagen.
I'm losing my edge to the art-school Manchester 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 1978 at the first Visage practice in a loft in London.
I was working on the snare 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 Flash Fearless to the jazz kids.
I played it at the Astoria.
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 Pussy Galore. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every Joensuu 1685 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 '50s cut and another box set from the '70s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
a-ha,
Kerrie Biddell,
The Star Department,
Little Man,
Country Joe & The Fish,
Gabor Szabo,
X-102,
UT,
Rekid,
Tears for Fears,
Jacques Brel,
Freddie Wadling,
Magma,
Röyhkä ja Rättö ja Lehtisalo,
Kenny Larkin,
Curtis Mayfield,
The Doors,
The Gun Club,
Super Lover Cee & Casanova Rud,
The Motions,
Jeru the Damaja,
Black Flag,
Mantronix,
Dead Boys,
The Wake,
Peter and Kerry,
Motorama,
Symarip,
Blake Baxter,
Sun Ra,
Intrusion,
Yazoo,
The Index,
the Slits,
the Germs,
Suicide,
La Düsseldorf,
Michelle Simonal,
Y Pants,
Shuggie Otis,
Neil Young & Crazy Horse,
Jesper Dahlbäck,
Warren Ellis,
E-Dancer,
Nas,
Jimmy McGriff,
Amon Düül,
Judy Mowatt,
The Blues Magoos,
Sex Pistols,
Sight & Sound,
Terrestrial Tones,
Slave,
Lower 48,
Al Stewart,
Colin Newman,
The Fortunes,
Swell Maps,
DJ Style,
Piero Umiliani,
Brand Nubian,
The Vogues,
The American Breed,
The Red Krayola, The Red Krayola, The Red Krayola, The Red Krayola.
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.