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 Lebanon and from Cairo.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Beijing and New York.
I'm losing my edge to the art-school Edmonton 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Nile Rodgers 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 Thompson Twins to the electroclash 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 DeepChord presents Echospace. All the underground hits.
All The Golliwogs tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal disco 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 chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
Barrington Levy,
Todd Rundgren,
The Dave Clark Five,
Siglo XX,
Larry & the Blue Notes,
Mad Mike,
Bobby Byrd,
the Fania All-Stars,
cv313,
Monolake,
Hoover,
The Gories,
Eli Mardock,
Kerrie Biddell,
Pere Ubu,
The Moleskins,
Scientists,
Gil Scott-Heron and Jamie xx,
The Mighty Diamonds,
DJ Sneak,
Boredoms,
Pagans,
Selector Dub Narcotic,
Subhumans,
Strawberry Alarm Clock,
Kauko Röyhkä ja Narttu,
The Fuzztones,
Lalann,
Altered Images,
Gastr Del Sol,
Letta Mbulu,
The Flesh Eaters,
Spoonie Gee,
Bauhaus,
New Age Steppers,
Matthew Bourne,
Eric B and Rakim,
Matthew Halsall,
Chris Corsano,
The Pop Group,
Mark Hollis,
Kaleidoscope,
Duran Duran,
Funky Four + One,
Audionom,
Severed Heads,
Black Sheep,
Q and Not U,
Black Bananas,
The Pretty Things,
Siouxsie and the Banshees,
Hot Snakes,
Glambeats Corp.,
Charles Mingus,
Bizarre Inc.,
DNA,
Ultravox,
Gerry Rafferty,
Shoche,
Minnie Riperton,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.