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 Slovakia and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 Jakarta and Seoul.
I'm losing my edge to the art-school Houston 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 808 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 The Blackbyrds to the disco 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 Jacques Brel. All the underground hits.
All The Peanut Butter Conspiracy tracks. I heard you have a vinyl of every Stiv Bators record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear that you and your band have sold your mellotron 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 Fall,
Infiniti,
Deadbeat,
Kurtis Blow,
Electric Light Orchestra,
Whodini,
Kango’s Stein Massive,
Audionom,
Danielle Patucci,
The Remains,
The Gun Club,
Bill Wells,
Pussy Galore,
Neu!,
Cabaret Voltaire,
The Vogues,
Yazoo,
Gang Starr,
Josef K,
Eddi Front,
Electric Prunes,
Technova,
Drexciya,
Dawn Penn,
Urselle,
K-Klass,
The Smiths,
Scratch Acid,
DJ Style,
Robert Hood,
The New Christs,
Ronan,
New York Dolls,
Nick Cave & The Bad Seeds,
Dorothy Ashby,
Gastr Del Sol,
The J.B.'s,
Marc Almond,
Peter and Kerry,
Roy Ayers Ubiquity,
The Doobie Brothers,
The Busters,
Von Mondo,
Severed Heads,
Alton Ellis,
Yusef Lateef,
Jacob Miller,
Derrick May,
Stiv Bators,
Amon Düül II,
CMW,
Jesper Dahlback,
Camron Feat. Memphis Bleek And Beenie Seigel,
Can,
Jacques Brel,
Ultimate Spinach,
Echospace,
Essential Logic,
Minnie Riperton,
Rapeman,
the Germs,
Index, Index, Index, Index.
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.