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 Comoros and from Jakarta.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Edmonton.
I'm losing my edge to the art-school Winnipeg 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the sitar 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 Gories to the electroclash 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 Technova. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Stockholm Monsters 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 '80s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Visage,
Prince Buster,
Marmalade,
Big Daddy Kane,
Lebanon Hanover,
Joensuu 1685,
The Names,
The Associates,
Fort Wilson Riot,
Skarface,
Quadrant,
Niagra,
JFA,
the Normal,
Rites of Spring,
Johnny Clarke,
Man Parrish,
Toni Rubio,
The Real Kids,
Roy Ayers,
Ludus,
Jeff Lynne,
Ohio Players,
Lafayette Afro Rock Band,
Sonic Youth,
Robert Hood,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Electric Light Orchestra,
The Five Americans,
the Soft Cell,
Letta Mbulu,
Index,
Fatback Band,
Rowland S Howard / Lydia Lunch,
Whodini,
The Remains,
Mr. Review,
Howard Jones,
Tomorrow,
Roxette,
Bobby Hutcherson,
Grauzone,
Excepter,
Unrelated Segments,
Kerri Chandler,
Gabor Szabo,
ABBA,
Public Image Ltd.,
The Evens,
The Dave Clark Five,
U.S. Maple,
Black Flag,
Trumans Water,
Minnie Riperton,
These Immortal Souls,
The Skatalites,
Essential Logic,
Basic Channel,
K-Klass,
LL Cool J,
Yaz,
Slick Rick, Slick Rick, Slick Rick, Slick Rick.
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.