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 Laos and from Mumbai.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Bremen and Winnipeg.
I'm losing my edge to the art-school Hong Kong 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 1968 at the first Can practice in a loft in Cologne.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Matthew Halsall to the disco kids.
I played it at Cafe Wha.
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 PIL. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Bill Wells 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 '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Mars,
Fugazi,
Sixth Finger,
Avey Tare & Kría Brekkan,
Faraquet,
Jerry's Kids,
Andrew Hill,
Bootsy Collins,
Fatback Band,
Ash Ra Tempel,
Black Flag,
Jimmy McGriff,
The Slits,
Adolescents,
Suburban Knight,
The Remains,
The Black Dice,
Pantytec,
Scion,
Jacob Miller,
Infiniti,
Larry & the Blue Notes,
Eric Dolphy,
Justin Hinds & The Dominoes,
Siglo XX,
Bobby Sherman,
Depeche Mode,
Symarip,
Neu!,
Jeff Mills,
The Offenders,
The Sound,
Don Cherry,
Camouflage,
Flipper,
DJ Sneak,
Kool G Rap & DJ Polo,
Big Daddy Kane,
F. McDonald,
Brothers Johnson,
Jesper Dahlback,
Carl Craig,
Spoonie Gee,
Ohio Players,
EPMD,
Marmalade,
The Real Kids,
Johnny Clarke,
Jacques Brel,
Chrome,
Second Layer,
Pagans,
Wire,
Maurizio,
Toni Rubio,
Blancmange,
Black Pus,
Sugar Minott,
The Royal Family And The Poor,
Derrick May,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.