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 Benin 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 1965 to 1974.
I'm losing my edge.
To all the kids in Cairo and Manchester.
I'm losing my edge to the art-school Beijing 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 1978 at the first Visage practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 Q and Not U to the jazz kids.
I played it at the Astoria.
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 Hot Snakes. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Liliput record on German import.
I heard that you have a white label of every seminal punk 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 a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
Susan Cadogan,
The Fuzztones,
Notorious BIG live in Amsterdam,
Harpers Bizarre,
Wings,
Q and Not U,
Aural Exciters,
Sonic Youth,
E-Dancer,
Boogie Down Productions,
Television,
Slave,
Nico,
Soul Sonic Force,
Amon Düül II,
The J.B.'s,
Gregory Isaacs,
the Human League,
The Flesh Eaters,
Drexciya,
Ituana,
Barclay James Harvest,
Judy Mowatt,
Jeff Mills,
Chris Corsano,
Babytalk,
Oblivians,
Buzzcocks,
Masters at Work,
Scott Walker,
Magazine,
Pylon,
Soul II Soul,
David Bowie,
Kool Moe Dee,
Flash Fearless,
Terror Squad Feat. Camron,
Anthony Braxton,
Lou Christie,
Liliput,
Inner City,
Icehouse,
a-ha,
Average White Band,
Soft Machine,
Nik Kershaw,
Television Personalities,
Isaac Hayes,
Scion,
CMW,
The Mojo Men,
The Red Krayola,
The Durutti Column,
Lou Reed & Metallica,
The Dirtbombs,
Minutemen,
Quadrant,
Tears for Fears,
Crispy Ambulance,
Angry Samoans, Angry Samoans, Angry Samoans, Angry Samoans.
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.