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 Bolivia and from Manila.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Seoul.
I'm losing my edge to the art-school Madrid 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer 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 Wasted Youth to the funk kids.
I played it at the Hacienda.
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 Eric B and Rakim. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Freddie Wadling 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 '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Chocolate Watch Band record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
T.S.O.L.,
Toni Rubio,
Scratch Acid,
Röyhkä ja Rättö ja Lehtisalo,
The Moleskins,
Josef K,
Brick,
Mo-Dettes,
Gastr Del Sol,
Cymande,
Rufus Thomas,
The Motions,
Harmonia,
Sight & Sound,
Circle Jerks,
Dave Gahan,
Camberwell Now,
Pussy Galore,
Nas,
Fluxion,
Second Layer,
The Invisible,
The Golliwogs,
Suicide,
the Soft Cell,
De La Soul & Jungle Brothers,
Gichy Dan,
Gang Gang Dance,
Crispy Ambulance,
Minutemen,
Index,
Bronski Beat,
Danielle Patucci,
Barry Ungar,
Janne Schatter,
Tubeway Army,
Graham Central Station,
Bootsy Collins,
The Residents,
Slick Rick,
the Normal,
Bob Dylan,
Skaos,
Buzzcocks,
Ultra Naté,
Monks,
Tom Boy,
Sister Nancy,
The Chocolate Watch Band,
David McCallum,
Jacques Brel,
The Monks,
Depeche Mode,
Art Ensemble Of Chicago,
Jacob Miller,
Piero Umiliani,
the Sonics,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.