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 Nauru and from Mumbai.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Madrid and Glasgow.
I'm losing my edge to the art-school Hong Kong 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the snare sounds with much patience.
I was there when Nile Rodgers 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 Popol Vuh to the crunk 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 Throbbing Gristle. All the underground hits.
All Scan 7 tracks. I heard you have a vinyl of every Mark Hollis 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Flipper,
The Electric Prunes,
Sexual Harrassment,
Heavy D & The Boyz,
Fear,
The Gories,
Carl Craig,
Mo-Dettes,
The Sonics,
The Alarm Clocks,
Howard Jones,
Fad Gadget,
Whodini,
New York Dolls,
Harry Pussy,
Pussy Galore,
Funky Four + One,
The American Breed,
Cameo,
Janne Schatter,
Steve Hackett,
John Lydon,
Pantytec,
Stereo Dub,
Schoolly D,
Frankie Knuckles,
Quando Quango,
Young Marble Giants,
The Cure,
Shuggie Otis,
The Raincoats,
Hot Snakes,
The Men They Couldn't Hang,
The Dirtbombs,
Stiv Bators,
Funkadelic,
Eden Ahbez,
Max Romeo,
Donny Hathaway,
Davy DMX,
Bad Manners,
Tears for Fears,
Marc Almond,
Sun City Girls,
Rites of Spring,
Erasure,
Swans,
Scrapy,
Dawn Penn,
Bootsy's Rubber Band,
Audionom,
Tubeway Army,
Joyce Sims,
Jawbox,
Rufus Thomas,
Roy Ayers Ubiquity,
The Smiths,
Avey Tare & Kría Brekkan,
MDC,
Terry Callier,
the Soft Cell,
The Beau Brummels,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.