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 Chile and from Johannesburg.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Madrid.
I'm losing my edge to the art-school Copenhagen 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 Iggy Pop to the disco kids.
I played it at the Troubador.
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 The Offenders. All the underground hits.
All Orchestral Manoeuvres in the Dark tracks. I heard you have a vinyl of every Strawberry Alarm Clock record on German import.
I heard that you have a white label of every seminal dance 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 mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
Lalann,
The Count Five,
The Peanut Butter Conspiracy,
The Litter,
Accadde A,
Soul Sonic Force,
Kool Moe Dee,
cv313,
Second Layer,
Lower 48,
Major Organ And The Adding Machine,
The Cosmic Jokers,
Eyeless In Gaza,
Skriet,
Bill Near,
Half Japanese,
Drexciya,
The Monochrome Set,
X-102,
Bill Wells,
Kool G Rap & DJ Polo,
Pussy Galore,
Organ,
Bob Dylan,
Gil Scott-Heron & Brian Jackson,
June Days,
Kevin Saunderson,
Blossom Toes,
Gabor Szabo,
Donald Byrd,
Erykah Badu,
Notorious Big And Bone Thugs,
Radiopuhelimet,
Wighnomy Brothers & Robag Wruhme,
Japan,
Traffic Nightmare,
10cc,
Ice-T,
Sound Behaviour,
Althea and Donna,
Khruangbin,
Pole,
kango's stein massive,
Fear,
Johnny Clarke,
T.S.O.L.,
Newcleus,
F. McDonald,
Gregory Isaacs,
Lalo Schifrin,
Rosa Yemen,
Lebanon Hanover,
Inner City,
Maleditus Sound,
L. Decosne,
Massinfluence,
The Five Americans,
Ajijia Myrayebe,
Subhumans,
Warren Ellis,
Throbbing Gristle,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.