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 Papua New Guinea and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Jakarta.
I'm losing my edge to the art-school Lyon 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Qualms to the punk 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 The Raincoats. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Television Personalities record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Japan,
Jeff Mills,
The Fortunes,
Section 25,
Outsiders,
Bobby Sherman,
The Smoke,
Spoonie Gee,
Bill Near,
Lalo Schifrin,
Chris & Cosey,
The Cure,
Wolf Eyes,
John Lydon,
UT,
Black Moon,
The Durutti Column,
Notorious Big And Bone Thugs,
Soul II Soul,
Anakelly,
Lightning Bolt,
Eric B and Rakim,
Sun City Girls,
Essential Logic,
Rotary Connection,
Johnny Clarke,
Brass Construction,
Infiniti,
Terry Callier,
10cc,
Quantec,
Delon & Dalcan,
Sight & Sound,
John Holt,
Amon Düül,
Notorious BIG live in Amsterdam,
Bootsy Collins,
Fad Gadget,
Eyeless In Gaza,
the Normal,
Y Pants,
In Retrospect,
Roxette,
Thee Headcoats,
48th St. Collective,
Curtis Mayfield,
Eurythmics,
Peter Gordon & Love of Life Orchestra,
The Fuzztones,
The Techniques,
Alison Limerick,
Soft Machine,
Royal Trux,
Captain Beefheart & His Magic Band,
Drive Like Jehu,
Motorama,
Joe Smooth,
Jawbox,
Lizzy Mercier Descloux,
Liliput,
Davy DMX,
MC5,
Mantronix, Mantronix, Mantronix, Mantronix.
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.