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 Uganda and from Mumbai.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Portland and Toronto.
I'm losing my edge to the art-school Toronto 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 LL Cool J to the jazz kids.
I played it at the Astoria.
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 Urselle. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Lindisfarne 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sisters of Mercy,
Soft Machine,
The Chocolate Watch Band,
Hasil Adkins,
Newcleus,
Juan Atkins,
Flamin' Groovies,
The Shadows of Knight,
Jeru the Damaja,
Tres Demented,
MDC,
Audionom,
Ludus,
Essential Logic,
Marine Girls,
Joe Smooth,
Magazine,
Fatback Band,
Sister Nancy,
Eden Ahbez,
Althea and Donna,
Banda Bassotti,
Talk Talk,
Black Flag,
Steve Hackett,
Bill Wells,
Aswad,
Echo & the Bunnymen,
Sun Ra,
Slick Rick,
Marvin Gaye,
Rakim,
Mad Mike,
The Gories,
Delon & Dalcan,
Leonard Cohen,
Ituana,
Dorothy Ashby,
Japan,
T.S.O.L.,
Sad Lovers and Giants,
The Mighty Diamonds,
The American Breed,
John Foxx,
the Fania All-Stars,
Matthew Bourne,
Grandmaster Flash and the Furious Five,
Minor Threat,
EPMD,
Gil Scott-Heron and Jamie xx,
The Dirtbombs,
Eve St. Jones,
Tommy Roe,
Arab on Radar,
Dave Gahan,
Manfred Mann's Earth Band,
Anakelly,
John Holt,
Marcia Griffiths,
Cameo,
Visionaries,LMNO, T- Love & Iriscience,
Erasure, Erasure, Erasure, Erasure.
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.