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 Cyprus and from New York.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1974.
I'm losing my edge.
To all the kids in Bologna and Lille.
I'm losing my edge to the art-school Shanghai 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 MDC to the grunge kids.
I played it at Trash.
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 Fort Wilson Riot. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Kaleidoscope 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 '80s cut and another box set from the '80s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Can record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harmonia,
Black Moon,
Hardrive,
Aural Exciters,
The Names,
The Offenders,
Bootsy Collins,
Brick,
London Community Gospel Choir,
T. Rex,
Sight & Sound,
Lalann,
Super Lover Cee & Casanova Rud,
the Bar-Kays,
Gary Puckett & The Union Gap,
Rufus Thomas,
Scott Walker + Sunn O))),
Tears for Fears,
Marcia Griffiths,
Alton Ellis,
Siouxsie and the Banshees,
The Dirtbombs,
Black Pus,
LL Cool J,
Khruangbin,
Pussy Galore,
Stetsasonic,
Man Eating Sloth,
Spandau Ballet,
PIL,
Johnny Osbourne,
June Days,
Prince Buster,
Bobbi Humphrey,
Patti Smith,
Goldenarms,
Kas Product,
The Stooges,
The Cramps,
Animal Collective,
Rites of Spring,
Boogie Down Productions,
EPMD,
Aaron Thompson,
Bang On A Can,
Cecil Taylor,
Rakim,
Ronnie Foster,
Dark Day,
Davy DMX,
Neil Young & Crazy Horse,
Juan Atkins,
Arcadia,
Art Ensemble Of Chicago,
Fluxion,
Cameo,
Dorothy Ashby,
Soul Sonic Force,
Kango’s Stein Massive,
Nils Olav,
X-Ray Spex,
the Slits,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.