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 Colombia and from Beijing.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1964 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Johannesburg.
I'm losing my edge to the art-school Jakarta 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 theremin 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 Altered Images to the punk kids.
I played it at the Astoria.
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 Blossom Toes. All the underground hits.
All The Cowsills tracks. I heard you have a vinyl of every Junior Murvin record on German import.
I heard that you have a white label of every seminal jazz 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 sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
the Association,
Cybotron,
Eyeless In Gaza,
Steve Hackett,
Gerry Rafferty,
Joe Smooth,
The Sisters of Mercy,
Barry Ungar,
Tubeway Army,
Carl Craig,
Pylon,
the Soft Cell,
Eric Dolphy,
Deutsch Amerikanische Freundschaft,
Traffic Nightmare,
The Star Department,
Lucky Dragons,
The Doors,
The Five Americans,
Thee Headcoats,
DJ Sneak,
Liliput,
Metal Thangz,
10cc,
Sun City Girls,
Jeru the Damaja,
Bobby Womack,
Arab on Radar,
Sunsets and Hearts,
Röyhkä ja Rättö ja Lehtisalo,
The Flesh Eaters,
Rod Modell,
Swell Maps,
Boogie Down Productions,
Bobby Sherman,
Michelle Simonal,
Max Romeo,
Aaron Thompson,
Soul Sonic Force,
Althea and Donna,
Yazoo,
Joyce Sims,
Unrelated Segments,
Lightning Bolt,
The Walker Brothers,
The Count Five,
The Jesus and Mary Chain,
Kings Of Tomorrow,
Faust,
Lizzy Mercier Descloux,
Dark Day,
Ohio Players,
Idris Muhammad,
Absolute Body Control,
Parry Music,
Ultra Naté,
The Barracudas,
Sight & Sound,
Infiniti, Infiniti, Infiniti, Infiniti.
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.