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 Niger and from Lille.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1970.
I'm losing my edge.
To all the kids in Delhi and Johannesburg.
I'm losing my edge to the art-school Manila 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 1968 at the first Can practice in a loft in Cologne.
I was working on the snare sounds with much patience.
I was there when Robert Palmer 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 Visage to the grime kids.
I played it at the Crocodile.
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 Barclay James Harvest. All the underground hits.
All Country Teasers tracks. I heard you have a vinyl of every Prince Buster record on German import.
I heard that you have a white label of every seminal techno 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 a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Janne Schatter,
Roy Ayers,
Patti Smith,
AZ,
John Lydon,
Rufus Thomas,
Franke,
Kas Product,
Panda Bear,
Cheater Slicks,
X-Ray Spex,
Avey Tare,
Pharaoh Sanders and the Fire Engines,
Archie Shepp,
The Walker Brothers,
X-101,
Pussy Galore,
Buzzcocks,
Delta 5,
La Düsseldorf,
The Detroit Cobras,
Bluetip,
Easy Going,
Avey Tare & Kría Brekkan,
Marc Romboy vs. Booka Shade,
Pulsallama,
The Birthday Party,
Arcadia,
Max Romeo,
Barrington Levy,
Liaisons Dangereuses,
Larry & the Blue Notes,
Strawberry Alarm Clock,
Heaven 17,
Saccharine Trust,
FM Einheit,
Be Bop Deluxe,
Agitation Free,
David McCallum,
Japan,
Captain Beefheart & His Magic Band,
Ten City,
Masters at Work,
Swell Maps,
The Kinks,
Bronski Beat,
Rotary Connection,
Visage,
Unwound,
ABC,
Blake Baxter,
Sun City Girls,
Skaos,
Fear,
Freddie Wadling,
The Cowsills,
Todd Terry,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.