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 Iraq and from Milan.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Seoul.
I'm losing my edge to the art-school Edmonton 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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Red Lorry Yellow Lorry to the funk kids.
I played it at the Troubador.
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 The Royal Family And The Poor. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every DJ Style 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
Andrew Hill,
Alison Limerick,
Frankie Knuckles,
The Beau Brummels,
Symarip,
John Foxx,
Fluxion,
Q and Not U,
Television,
John Coltrane,
Rotary Connection,
T.S.O.L.,
Althea and Donna,
Index,
Reagan Youth,
Prince Buster,
The Sonics,
Patti Smith,
Lakeside,
Lower 48,
PIL,
The Fuzztones,
Faust,
Louis and Bebe Barron,
Eddi Front,
Lizzy Mercier Descloux,
Tomorrow,
Robert Hood,
The Sound,
The Human League,
Yazoo,
Banda Bassotti,
Magazine,
The Pop Group,
The Electric Prunes,
Saccharine Trust,
Marc Almond,
Nick Cave & The Bad Seeds,
Tropical Tobacco,
Lou Christie,
The Slits,
Joensuu 1685,
Girls At Our Best!,
Moss Icon,
Spoonie Gee,
Pete Rock & C.L. Smooth,
Delta 5,
Scrapy,
Ludus,
a-ha,
Man Eating Sloth,
Audionom,
Marcia Griffiths,
Ralphi Rosario,
Lee Hazlewood,
Rosa Yemen,
Sugar Minott,
Television Personalities,
Heavy D & The Boyz,
June of 44,
Cheater Slicks,
Interpol,
Desert Stars, Desert Stars, Desert Stars, Desert Stars.
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.