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 Namibia and from Bremen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Milan and Lille.
I'm losing my edge to the art-school Milan 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 L. Decosne to the techno 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 La Düsseldorf. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Absolute Body Control record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Nirvana record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
Cabaret Voltaire,
Kayak,
Sam Rivers,
Marvin Gaye,
Scrapy,
Swell Maps,
The J.B.'s,
Echo & the Bunnymen,
Monks,
The Jesus and Mary Chain,
Deakin,
The Vogues,
A Certain Ratio,
The Alarm Clocks,
10cc,
Ten City,
Letta Mbulu,
Graham Central Station,
John Cale,
Severed Heads,
Art Ensemble Of Chicago,
Ralphi Rosario,
Sällskapet,
Janne Schatter,
Interpol,
Gang Starr,
Vainqueur,
Liaisons Dangereuses,
Average White Band,
Tim Buckley,
Mars,
The Five Americans,
Fad Gadget,
Zero Boys,
Tom Boy,
X-Ray Spex,
T.S.O.L.,
The Kinks,
Dual Sessions,
CMW,
Nation of Ulysses,
The Divine Comedy,
Eyeless In Gaza,
Roxy Music,
The Misunderstood,
Mantronix,
Eurythmics,
Motorama,
48th St. Collective,
The Gories,
The Pop Group,
Barclay James Harvest,
Grauzone,
Man Parrish,
The Durutti Column,
The Fugs,
Porter Ricks,
The Selecter,
Marshall Jefferson,
Magma,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.