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 Estonia and from Seoul.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Madrid.
I'm losing my edge to the art-school Paris 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 theremin 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 Laurel Aitken to the punk kids.
I played it at Trash.
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 Depeche Mode. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Bang On A Can 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Pete Rock & C.L. Smooth record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
Sonny Sharrock,
Rowland S Howard / Lydia Lunch,
The Dirtbombs,
Derrick Morgan,
New York Dolls,
London Community Gospel Choir,
Kas Product,
The Cure,
Tubeway Army,
Talk Talk,
Young Marble Giants,
FM Einheit,
Sad Lovers and Giants,
Flamin' Groovies,
Delon & Dalcan,
Eric B and Rakim,
Lebanon Hanover,
Cabaret Voltaire,
The Sound,
the Association,
Rod Modell,
Kerri Chandler,
The Fuzztones,
Notorious Big And Bone Thugs,
The Peanut Butter Conspiracy,
Sun Ra,
Gang of Four,
The Black Dice,
The Men They Couldn't Hang,
Q and Not U,
Brothers Johnson,
Wire,
John Holt,
Bobbi Humphrey,
Hoover,
Aural Exciters,
The Barracudas,
Stereo Dub,
Scrapy,
June of 44,
David Bowie,
The Kinks,
Main Source,
Mantronix,
The West Coast Pop Art Experimental Band,
Glambeats Corp.,
Lalann,
Goldenarms,
Livin' Joy,
Cluster,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Gerry Rafferty,
Crooked Eye,
Juan Atkins,
The Golliwogs,
Silicon Teens,
Black Sheep,
Gregory Isaacs,
In Retrospect,
Brick, Brick, Brick, Brick.
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.