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 Slovakia and from Tehran.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Winnipeg and Woodstock.
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 1978 at the first Visage practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Nile Rodgers 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 Jesper Dahlback to the crunk kids.
I played it at the Spitz.
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 Archie Shepp tracks. I heard you have a vinyl of every Audionom 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 '70s cut and another box set from the '80s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro 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 Flock of Seagulls,
Mad Mike,
Lakeside,
Heaven 17,
Crime,
Neil Young & Crazy Horse,
Pet Shop Boys,
Minor Threat,
Ronan,
Jerry Gold Smith,
Duran Duran,
Avey Tare's Slasher Flicks,
Youth Brigade,
David McCallum,
Kool Moe Dee,
Masters at Work,
Sound Behaviour,
Harry Pussy,
Angry Samoans,
A Certain Ratio,
Art Ensemble Of Chicago,
Marshall Jefferson,
Toni Rubio,
One Last Wish,
The Pop Group,
The Smoke,
Sandy B,
Flamin' Groovies,
Electric Light Orchestra,
X-101,
Visage,
Rakim,
L. Decosne,
Notorious Big And Bone Thugs,
The Walker Brothers,
John Cale,
Bad Manners,
Avey Tare & Kría Brekkan,
Easy Going,
Mary Jane Girls,
Loose Ends,
Blake Baxter,
Rufus Thomas,
Accadde A,
John Coltrane,
Joe Finger,
Lonnie Liston Smith,
Soft Machine,
Procol Harum,
Tomorrow,
The Monochrome Set,
Terrestrial Tones,
a-ha,
Marvin Gaye,
MC5,
Peter and Kerry,
Ultravox,
Con Funk Shun,
Stiv Bators,
Henry Cow,
Guru Guru,
Lightning Bolt,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.