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 Zimbabwe and from Salvador.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Lille and Tehran.
I'm losing my edge to the art-school Houston 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 808 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 The Count Five to the punk kids.
I played it at Cafe Wha.
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 Andrew Ashong & Theo Parrish. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Alison Limerick record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Patti Smith record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
Rhythm & Sound,
Faust,
Wighnomy Brothers & Robag Wruhme,
Thompson Twins,
It's A Beautiful Day,
Liaisons Dangereuses,
Alphaville,
Derrick May,
Minor Threat,
Orchestral Manoeuvres in the Dark,
Television,
China Crisis,
Gabor Szabo,
The Peanut Butter Conspiracy,
The Buckinghams,
The Electric Prunes,
Kaleidoscope,
Heaven 17,
Bootsy's Rubber Band,
This Heat,
John Lydon,
The Fuzztones,
Andrew Hill,
Drive Like Jehu,
Maurizio,
The Happenings,
June Days,
Vladislav Delay,
Big Daddy Kane,
Man Parrish,
Crash Course in Science,
The Dead C,
Basic Channel,
The Alarm Clocks,
T.S.O.L.,
Jimmy McGriff,
New Age Steppers,
The Fortunes,
Leonard Cohen,
Judy Mowatt,
The New Christs,
The J.B.'s,
Nico,
Jerry's Kids,
Lonnie Liston Smith,
The Red Krayola,
Fad Gadget,
Scrapy,
Lebanon Hanover,
Robert Hood,
Dennis Brown,
D'Angelo,
Black Pus,
The Beau Brummels,
Lizzy Mercier Descloux,
The Sisters of Mercy,
Warsaw,
Pagans,
L. Decosne,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.