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 Zambia and from Salvador.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Mexico City.
I'm losing my edge to the art-school Manchester 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Eddi Front to the dance 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 Warren Ellis. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese 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?
The Invisible,
The Modern Lovers,
the Fania All-Stars,
Kings Of Tomorrow,
kango's stein massive,
Arcadia,
8 Eyed Spy,
Jeru the Damaja,
Kas Product,
Con Funk Shun,
Girls At Our Best!,
cv313,
Swans,
Mars,
Nick Fraelich,
Q and Not U,
This Heat,
Sticky Fingaz feat. Raekwon,
Godley & Creme,
Thee Headcoats,
Pierre Henry,
Sex Pistols,
The Raincoats,
Cymande,
Soft Machine,
The Walker Brothers,
The Human League,
Audionom,
Cecil Taylor,
Glenn Branca,
Dave Gahan,
Kerrie Biddell,
Schoolly D,
Eden Ahbez,
Nik Kershaw,
Eric Copeland,
Loose Ends,
Ronan,
Tommy Roe,
Bobby Hutcherson,
Mantronix,
ABC,
The Index,
The Monks,
Yellowson,
Sight & Sound,
The Fugs,
Agent Orange,
Magma,
Cabaret Voltaire,
A Flock of Seagulls,
K-Klass,
X-101,
Red Lorry Yellow Lorry,
Patti Smith,
Y Pants,
Pete Rock & C.L. Smooth,
Crime,
Minnie Riperton,
Lalann,
Rapeman,
The Buckinghams,
Lafayette Afro Rock Band,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.