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 Georgia and from Manchester.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Toronto and Edmonton.
I'm losing my edge to the art-school Stockholm 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 Soft Cell to the dance 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 Toni Rubio. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Au Pairs record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Lafayette Afro Rock Band,
Aural Exciters,
Model 500,
Severed Heads,
Motorama,
The Monks,
Roy Ayers,
Aswad,
June Days,
Deakin,
Man Eating Sloth,
The Count Five,
Public Image Ltd.,
Drive Like Jehu,
Depeche Mode,
The Zeros,
Thinking Fellers Union Local 282,
Alton Ellis,
The Blackbyrds,
Dorothy Ashby,
LL Cool J,
Nico,
Cabaret Voltaire,
Ronnie Foster,
The Index,
Massinfluence,
T. Rex,
In Retrospect,
The Beau Brummels,
Echospace,
Jerry's Kids,
Isaac Hayes,
The Toasters,
The Modern Lovers,
The Five Americans,
Magazine,
The Pop Group,
Rhythim Is Rhythim,
The Techniques,
Johnny Osbourne,
Mars,
The Sound,
Scott Walker,
The Names,
Liliput,
Marc Romboy vs. Booka Shade,
X-101,
Brick,
Barry Ungar,
Kenny Larkin,
Spandau Ballet,
The Smoke,
Wighnomy Brothers & Robag Wruhme,
Prince Buster,
Nas,
Lyres,
The Velvet Underground,
Lungfish,
Pere Ubu,
Sarah Menescal,
Amazonics,
The Trojans, The Trojans, The Trojans, The Trojans.
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.