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 Hungary and from Sao Paulo.
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 1960 to 1973.
I'm losing my edge.
To all the kids in New York and Cairo.
I'm losing my edge to the art-school Mexico City 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 1984 at the first Arcadia practice in a loft in London.
I was working on the theremin 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 The Raincoats to the disco 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 Kas Product. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every This Heat record on German import.
I heard that you have a white label of every seminal rap 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 a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
The Slits,
DNA,
Pierre Henry,
Bill Near,
Altered Images,
Boredoms,
Duran Duran,
Tears for Fears,
Bobbi Humphrey,
Donald Byrd,
Byron Stingily,
Nation of Ulysses,
Piero Umiliani,
Crime,
X-101,
In Retrospect,
Major Organ And The Adding Machine,
The Divine Comedy,
John Lydon,
Fad Gadget,
Lebanon Hanover,
Lou Christie,
Hardrive,
Spoonie Gee,
Gil Scott Heron,
Brick,
Essential Logic,
The Raincoats,
Suicide,
R.M.O.,
Eden Ahbez,
Talk Talk,
The Knickerbockers,
Dorothy Ashby,
Motorama,
James White and The Blacks,
Jacques Brel,
Public Enemy,
Fluxion,
E-Dancer,
John Cale,
New Order,
Oblivians,
DJ Style,
Half Japanese,
Bobby Hutcherson,
Bizarre Inc.,
Hot Snakes,
The Fuzztones,
Alison Limerick,
Symarip,
Godley & Creme,
Red Lorry Yellow Lorry,
Sarah Menescal,
Excepter,
Wings,
D'Angelo,
Andrew Hill,
The Leaves,
Monolake,
Radio Birdman,
Kas Product,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.