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 Burundi and from Hong Kong.
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 1973.
I'm losing my edge.
To all the kids in Tehran and Bremen.
I'm losing my edge to the art-school Woodstock 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Pole to the disco 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 United States of America. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every Kaleidoscope 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 '70s cut and another box set from the '70s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dennis Brown,
Supertramp,
Tommy Roe,
Nas,
Second Layer,
Soft Machine,
Alison Limerick,
H. Thieme,
Todd Rundgren,
Crime,
London Community Gospel Choir,
JFA,
Davy DMX,
Mandrill,
Lightning Bolt,
The Barracudas,
Selector Dub Narcotic,
Sällskapet,
The Monks,
Kurtis Blow,
MC5,
Nick Cave & The Bad Seeds,
Intrusion,
Public Enemy,
David Bowie,
B.T. Express,
8 Eyed Spy,
The Neon Judgement,
The Human League,
Suicide,
Arthur Verocai,
Ronan,
Pulsallama,
The Martian,
Hasil Adkins,
Marmalade,
the Association,
Chris Corsano,
F. McDonald,
Charles Mingus,
Johnny Clarke,
Andrew Ashong & Theo Parrish,
The Monochrome Set,
Mr. Review,
The Offenders,
Peter and Kerry,
The Tremeloes,
The Fugs,
Funkadelic,
Sparks,
The Buckinghams,
Man Parrish,
Average White Band,
Kaleidoscope,
Piero Umiliani,
X-101,
Aswad,
Colin Newman,
Pantaleimon,
Angry Samoans,
Graham Central Station,
The Walker Brothers,
Stereo Dub,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.