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 Benin and from Paris.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Shanghai.
I'm losing my edge to the art-school Cairo 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the arpeggiator 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 Whodini to the rock kids.
I played it at CBGB's.
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 Dave Gahan. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every The Real Kids record on German import.
I heard that you have a white label of every seminal electroclash 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 sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Public Enemy,
Fear,
Minor Threat,
Harpers Bizarre,
Motorama,
Jeru the Damaja,
8 Eyed Spy,
Whodini,
Lalo Schifrin,
The Offenders,
Roy Ayers Ubiquity,
Kauko Röyhkä ja Narttu,
The Move,
Spoonie Gee,
Bush Tetras,
Magma,
The New Christs,
Eve St. Jones,
Gabor Szabo,
Dorothy Ashby,
Delta 5,
John Holt,
Livin' Joy,
Amon Düül,
Loose Ends,
The Tremeloes,
Judy Mowatt,
Orchestral Manoeuvres in the Dark,
Barclay James Harvest,
Gary Puckett & The Union Gap,
James White and The Blacks,
Dual Sessions,
Barbara Tucker,
48th St. Collective,
Marcia Griffiths,
Angels of Light & Akron/Family,
Cluster,
Monks,
Deadbeat,
Mad Mike,
The Moleskins,
Make Up,
the Bar-Kays,
Ultra Naté,
Malaria!,
Letta Mbulu,
The Misunderstood,
Jacob Miller,
Manfred Mann's Earth Band,
The Sisters of Mercy,
K-Klass,
Kool Moe Dee,
John Cale,
DeepChord presents Echospace,
Drexciya,
Colin Newman,
The Dirtbombs,
the Slits, the Slits, the Slits, the Slits.
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.