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 Kosovo and from Hong Kong.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Lagos and Edmonton.
I'm losing my edge to the art-school Accra 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord 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 Wire to the disco kids.
I played it at the Spitz.
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 Matthew Bourne. All the underground hits.
All Fatback Band tracks. I heard you have a vinyl of every Erasure record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a ABC record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Sonics,
Heaven 17,
The American Breed,
Rhythm & Sound,
Oppenheimer Analysis,
Roxy Music,
Average White Band,
Fugazi,
Minny Pops,
Sunsets and Hearts,
Stockholm Monsters,
The Walker Brothers,
Nas,
Brick,
Sun Ra Arkestra,
Cheater Slicks,
Unwound,
Hasil Adkins,
Lakeside,
Maurizio,
Drive Like Jehu,
Dave Gahan,
Matthew Halsall,
Scratch Acid,
Yazoo,
Soft Cell,
D'Angelo,
Main Source,
Liliput,
The Peanut Butter Conspiracy,
Los Fastidios,
Avey Tare's Slasher Flicks,
Louis and Bebe Barron,
Gang Gang Dance,
Chris Corsano,
Japan,
Pole,
Al Stewart,
The Toasters,
Crash Course in Science,
Royal Trux,
Shoche,
Anthony Braxton,
This Heat,
Pierre Henry,
Metal Thangz,
Absolute Body Control,
Depeche Mode,
Johnny Osbourne,
Sonny Sharrock,
Inner City,
Blancmange,
Bush Tetras,
Marvin Gaye,
Loose Ends,
Lafayette Afro Rock Band,
Reuben Wilson,
Wings,
Tropical Tobacco,
Deadbeat,
Cluster,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.