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 Guyana and from Seoul.
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 1971.
I'm losing my edge.
To all the kids in Portland and Portland.
I'm losing my edge to the art-school Lille 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the 808 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 Das Ding to the disco kids.
I played it at CBGB's.
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 Terrestrial Tones. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Janne Schatter record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a ABBA 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?
Zero Boys,
the Human League,
The Doobie Brothers,
Al Stewart,
Hashim,
Harpers Bizarre,
MDC,
The Zeros,
Hardrive,
K-Klass,
the Soft Cell,
DJ Style,
The Selecter,
H. Thieme,
Newcleus,
Gil Scott Heron,
Alphaville,
Technova,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ultramagnetic MC's,
The Dead C,
The Pretty Things,
John Cale,
Soul II Soul,
Scratch Acid,
Godley & Creme,
Radiohead,
Grauzone,
The Music Machine,
Electric Prunes,
Reuben Wilson,
The Walker Brothers,
It's A Beautiful Day,
Howard Jones,
Symarip,
Bush Tetras,
Stereo Dub,
Byron Stingily,
A Flock of Seagulls,
The Invisible,
Cal Tjader,
Archie Shepp,
Charles Mingus,
Harmonia,
Lonnie Liston Smith,
Pere Ubu,
Crispy Ambulance,
Bobby Sherman,
Rahsaan Roland Kirk,
the Sonics,
Prince Buster,
Marc Romboy vs. Booka Shade,
Deadbeat,
Davy DMX,
Fad Gadget,
The Moleskins,
Roy Ayers Ubiquity,
Siouxsie and the Banshees,
Faraquet,
David McCallum,
Roy Ayers,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.