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 Georgia and from Mumbai.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Spokane and Woodstock.
I'm losing my edge to the art-school Delhi 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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Lebanon Hanover to the funk kids.
I played it at Cafe Wha.
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 Siouxsie and the Banshees. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every Sexual Harrassment record on German import.
I heard that you have a white label of every seminal techno 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 an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
Faraquet,
Radio Birdman,
Ponytail,
kango's stein massive,
Art Ensemble Of Chicago,
The Slits,
Echo & the Bunnymen,
Juan Atkins,
The Doobie Brothers,
Connie Case,
Bizarre Inc.,
Neil Young,
Gregory Isaacs,
Livin' Joy,
Icehouse,
Jerry's Kids,
Mantronix,
Deadbeat,
Bobby Hutcherson,
Matthew Bourne,
Susan Cadogan,
Cecil Taylor,
Hasil Adkins,
Janne Schatter,
MC5,
Das Ding,
Monks,
Gichy Dan,
Whodini,
Cal Tjader,
The Wake,
Peter & Gordon,
Dark Day,
Bob Dylan,
Judy Mowatt,
The Cramps,
Barbara Tucker,
Soft Machine,
Sam Rivers,
JFA,
The Human League,
Joe Smooth,
K-Klass,
Underground Resistance,
Thinking Fellers Union Local 282,
N.O.R.E. Featuring Pharrell,
The Flesh Eaters,
Franke,
Jesper Dahlbäck,
Alphaville,
X-Ray Spex,
Eden Ahbez,
John Holt,
Supertramp,
Radiohead,
Blancmange,
Vaughan Mason & Crew,
The American Breed,
The Men They Couldn't Hang,
London Community Gospel Choir,
The Monks, The Monks, The Monks, The Monks.
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.