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 Ireland and from Bremen.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Edmonton.
I'm losing my edge to the art-school Bologna 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Magma to the electroclash 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 Peter Gordon & Love of Life Orchestra. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every Monolake record on German import.
I heard that you have a white label of every seminal electroclash 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 an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bluetip record.
I hear that you and your band have sold your snare and bought a sitar.
I hear that you and your band have sold your sitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
James Chance & The Contortions,
The Young Rascals,
Slave,
Kevin Saunderson,
The Detroit Cobras,
The Pretty Things,
The Victims,
Freddie Wadling,
the Soft Cell,
Mad Mike,
Rhythim Is Rhythim,
Ornette Coleman,
Avey Tare's Slasher Flicks,
Derrick Morgan,
Laurel Aitken,
Tom Boy,
Blancmange,
Peter Gordon & Love of Life Orchestra,
Robert Hood,
Anakelly,
Kayak,
Ludus,
Kool G Rap & DJ Polo,
Charles Mingus,
Echo & the Bunnymen,
Newcleus,
Hoover,
Marcia Griffiths,
Kauko Röyhkä ja Narttu,
Max Romeo,
Althea and Donna,
Throbbing Gristle,
Cameo,
Theoretical Girls,
Wire,
kango's stein massive,
Von Mondo,
The Mummies,
Intrusion,
Wolf Eyes,
Idris Muhammad,
Quantec,
Harpers Bizarre,
Soul II Soul,
Slick Rick,
Bobby Byrd,
Davy DMX,
Interpol,
Sly & The Family Stone,
Bootsy's Rubber Band,
New Order,
Soft Machine,
Jerry Gold Smith,
Pierre Henry,
The Moody Blues,
Delta 5,
Excepter,
The Walker Brothers,
the Bar-Kays,
Absolute Body Control,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.