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 Comoros and from Lyon.
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 1975.
I'm losing my edge.
To all the kids in Woodstock and Philadelphia.
I'm losing my edge to the art-school Tehran 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the guitar 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 Rufus Thomas 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 Television. All the underground hits.
All Lakeside tracks. I heard you have a vinyl of every The Dead C 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Joyce Sims,
Crispian St. Peters,
The West Coast Pop Art Experimental Band,
The Move,
Deutsch Amerikanische Freundschaft,
Ultravox,
the Soft Cell,
H. Thieme,
Eve St. Jones,
Bobbi Humphrey,
Alton Ellis,
Gil Scott-Heron and Jamie xx,
Nation of Ulysses,
Parry Music,
Davy DMX,
R.M.O.,
Mark Hollis,
Barry Ungar,
Bluetip,
Moebius,
The Alarm Clocks,
The Human League,
The Knickerbockers,
The New Christs,
Sparks,
Lalann,
Girls At Our Best!,
Marcia Griffiths,
The Jesus and Mary Chain,
Dennis Brown,
Jerry's Kids,
David McCallum,
Kenny Larkin,
Connie Case,
Country Teasers,
Newcleus,
Barclay James Harvest,
Colin Newman,
The Saints,
Siglo XX,
The Busters,
Al Stewart,
Roxette,
This Heat,
The Count Five,
Sixth Finger,
Youth Brigade,
Negative Approach,
Eden Ahbez,
Funky Four + One,
Swell Maps,
Minor Threat,
Maleditus Sound,
Tom Boy,
The Grass Roots,
Royal Trux,
Bobby Byrd,
Electric Light Orchestra,
Funkadelic,
Wasted Youth,
U.S. Maple,
Amazonics, Amazonics, Amazonics, Amazonics.
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.