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 Ivory Coast and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1962 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Lagos.
I'm losing my edge to the art-school Winnipeg 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 harpsichord 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 Swans to the electroclash 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 La Düsseldorf. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Frankie Knuckles,
X-102,
Sugar Minott,
Gerry Rafferty,
The Sonics,
This Heat,
The Peanut Butter Conspiracy,
Intrusion,
Mary Jane Girls,
Interpol,
Larry & the Blue Notes,
Barry Ungar,
L. Decosne,
Dave Gahan,
MDC,
Model 500,
The Modern Lovers,
Zapp,
Bob Dylan,
Dark Day,
Schoolly D,
the Human League,
A Flock of Seagulls,
Tropical Tobacco,
Roy Ayers Ubiquity,
The Remains,
Negative Approach,
Super Lover Cee & Casanova Rud,
Major Organ And The Adding Machine,
Man Eating Sloth,
Sad Lovers and Giants,
The New Christs,
Swell Maps,
Lalann,
Minutemen,
Rowland S Howard / Lydia Lunch,
Bill Wells,
Easy Going,
Soft Machine,
Jesper Dahlbäck,
Terry Callier,
The West Coast Pop Art Experimental Band,
The Neon Judgement,
Godley & Creme,
Rites of Spring,
The Index,
Avey Tare,
Pulsallama,
Zero Boys,
Porter Ricks,
Dead Boys,
Wire,
Avey Tare's Slasher Flicks,
Eric B and Rakim,
Louis and Bebe Barron,
Adolescents,
The Royal Family And The Poor,
Fatback Band,
Deutsch Amerikanische Freundschaft,
Gang of Four,
Hardrive,
Talk Talk,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.