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 Gambia and from Beijing.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Salvador and Seoul.
I'm losing my edge to the art-school Columbus 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 Selda practice in a loft in Istanbul.
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 James Chance & The Contortions to the rock kids.
I played it at the Hacienda.
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 Bobby Byrd tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cymande,
A Flock of Seagulls,
Marine Girls,
LL Cool J,
Crash Course in Science,
The Barracudas,
China Crisis,
Metal Thangz,
Kerrie Biddell,
Bobby Sherman,
Youth Brigade,
Grauzone,
The Beau Brummels,
Gary Puckett & The Union Gap,
Young Marble Giants,
Can,
Dark Day,
Main Source,
Derrick Morgan,
Roxette,
Rufus Thomas,
PIL,
Chris & Cosey,
Deutsch Amerikanische Freundschaft,
Schoolly D,
Cal Tjader,
Depeche Mode,
The Tremeloes,
Davy DMX,
Matthew Bourne,
Desert Stars,
James White and The Blacks,
Gichy Dan,
Joey Negro,
The Dirtbombs,
cv313,
Echospace,
Thee Headcoats,
Dennis Brown,
Second Layer,
Heavy D & The Boyz,
The Music Machine,
Cecil Taylor,
Yazoo,
AZ,
Country Teasers,
Donald Byrd,
JFA,
Joyce Sims,
Radiopuhelimet,
Absolute Body Control,
The Angels of Light,
The Invisible,
Flash Fearless,
Faraquet,
Bootsy Collins,
Stockholm Monsters,
Josef K,
Aural Exciters,
Visionaries,LMNO, T- Love & Iriscience,
Sad Lovers and Giants,
Buzzcocks,
Gang Gang Dance,
Little Man, Little Man, Little Man, Little Man.
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.