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 Korea North and from Bologna.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1966 to 1977.
I'm losing my edge.
To all the kids in Halifax and Lyon.
I'm losing my edge to the art-school Mumbai 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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 These Immortal Souls to the techno kids.
I played it at the Crocodile.
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 Pylon. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
Pantytec,
Tom Boy,
Lou Christie,
Joe Finger,
Robert Hood,
Lebanon Hanover,
Blossom Toes,
DeepChord presents Echospace,
Ash Ra Tempel,
The Kinks,
The Busters,
Notorious BIG live in Amsterdam,
the Normal,
Ten City,
The Fall,
Banda Bassotti,
Lower 48,
The Blues Magoos,
Nick Fraelich,
Von Mondo,
The Red Krayola,
Aswad,
Skaos,
Robert Wyatt,
Peter and Kerry,
The Litter,
PIL,
the Soft Cell,
Fluxion,
KRS-One,
The Smiths,
Pharaoh Sanders and the Fire Engines,
Soft Cell,
Little Man,
Bobbi Humphrey,
Masters at Work,
The Smoke,
Boz Scaggs,
The United States of America,
Fad Gadget,
Warren Ellis,
Cabaret Voltaire,
Richard Hell and the Voidoids,
Magazine,
Morten Harket,
Bobby Sherman,
Au Pairs,
Ultramagnetic MC's,
Ludus,
The Doors,
the Bar-Kays,
London Community Gospel Choir,
Ronan,
The Blackbyrds,
The Neon Judgement,
Juan Atkins,
The Cure,
Eurythmics,
Eddi Front, Eddi Front, Eddi Front, Eddi Front.
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.