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 Mali and from Tokyo.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Manila and Tokyo.
I'm losing my edge to the art-school Sao Paulo 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 chamberlin 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 Cymande to the rock 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 Anakelly. All the underground hits.
All Desert Stars tracks. I heard you have a vinyl of every The Kinks record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Cluster,
Sexual Harrassment,
Monks,
Massinfluence,
Pharaoh Sanders and the Fire Engines,
Reuben Wilson,
Black Sheep,
the Soft Cell,
Mission of Burma,
Graham Central Station,
Maurizio,
The Buckinghams,
The Victims,
Robert Hood,
Aural Exciters,
Infiniti,
Ultimate Spinach,
Lafayette Afro Rock Band,
the Swans,
Quando Quango,
8 Eyed Spy,
The Durutti Column,
Man Parrish,
AZ,
Sight & Sound,
Yellowson,
Cabaret Voltaire,
Lou Christie,
Ossler,
Royal Trux,
Loose Ends,
Rhythm & Sound,
Sixth Finger,
Spandau Ballet,
The Litter,
the Normal,
Hardrive,
ABC,
Q65,
The Fall,
The Techniques,
Heaven 17,
Lou Reed,
Bill Wells,
cv313,
Quantec,
Animal Collective,
Von Mondo,
Marvin Gaye,
World's Most,
James White and The Blacks,
Throbbing Gristle,
The Index,
Motorama,
Jacques Brel,
Howard Jones,
Warsaw,
Malaria!,
Marc Romboy vs. Booka Shade,
Siglo XX,
DNA, DNA, DNA, DNA.
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.