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 Greece and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Tehran and Bremen.
I'm losing my edge to the art-school Lille 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Colin Newman to the rock kids.
I played it at Cafe Wha.
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 Notorious Big And Bone Thugs. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every The Fall 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 '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
The Leaves,
The Move,
Grandmaster Flash and the Furious Five,
Fort Wilson Riot,
Matthew Halsall,
FM Einheit,
Frankie Knuckles,
June Days,
Big Daddy Kane,
Connie Case,
Youth Brigade,
The Offenders,
Leonard Cohen,
Mo-Dettes,
Sister Nancy,
The Fugs,
James White and The Blacks,
The Men They Couldn't Hang,
Mandrill,
Tomorrow,
Lou Reed,
Röyhkä ja Rättö ja Lehtisalo,
Flipper,
Pagans,
Hot Snakes,
Reagan Youth,
The Moody Blues,
Bobbi Humphrey,
X-101,
Banda Bassotti,
The Smoke,
Japan,
Jawbox,
Roger Hodgson,
Skarface,
Accadde A,
Jeff Mills,
Alice Coltrane,
Roy Ayers Ubiquity,
Unwound,
Juan Atkins,
Echospace,
Pharaoh Sanders and the Fire Engines,
B.T. Express,
Ken Boothe,
Boredoms,
The Mighty Diamonds,
The Count Five,
The Sisters of Mercy,
Prince Buster,
Johnny Osbourne,
Essential Logic,
Cybotron,
Crooked Eye,
Ituana,
Grandmaster Flash,
Franke,
Arcadia, Arcadia, Arcadia, Arcadia.
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.