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 Afghanistan and from Madrid.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Portland.
I'm losing my edge to the art-school Madrid 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 guitar 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 Subhumans to the electroclash kids.
I played it at the Roxy.
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 The American Breed. All the underground hits.
All Outsiders tracks. I heard you have a vinyl of every June of 44 record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Basic Channel,
Camberwell Now,
Stiv Bators,
Sonny Sharrock,
The Music Machine,
Aaron Thompson,
L. Decosne,
Tommy Roe,
Absolute Body Control,
Sandy B,
the Bar-Kays,
Reagan Youth,
Hardrive,
Rhythim Is Rhythim,
De La Soul & Jungle Brothers,
A Certain Ratio,
Blake Baxter,
Fluxion,
Magma,
Pet Shop Boys,
the Association,
The J.B.'s,
DJ Style,
Chrome,
Blossom Toes,
Theoretical Girls,
The Busters,
Rotary Connection,
the Germs,
Charles Mingus,
Agitation Free,
Lonnie Liston Smith,
Michelle Simonal,
Sister Nancy,
Youth Brigade,
The Skatalites,
Scott Walker,
La Düsseldorf,
The Moleskins,
Eurythmics,
Motorama,
Harry Pussy,
June Days,
T. Rex,
Fugazi,
Barbara Tucker,
ABC,
DNA,
Warren Ellis,
The Fall,
The Cure,
In Retrospect,
Mary Jane Girls,
Jerry's Kids,
Bill Wells,
Von Mondo,
Freddie Wadling,
Marc Almond,
Chris Corsano,
Maleditus Sound,
Sugar Minott,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.