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 St Kitts & Nevis and from Edmonton.
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 1977.
I'm losing my edge.
To all the kids in Glasgow and Manchester.
I'm losing my edge to the art-school Cairo 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 mellotron 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 Desert Stars to the rock kids.
I played it at CBGB's.
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 Echo & the Bunnymen. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Mandrill 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Prince Buster record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
New Age Steppers,
Wings,
The Jesus and Mary Chain,
Super Lover Cee & Casanova Rud,
Sällskapet,
Lyres,
R.M.O.,
Das Ding,
Shoche,
Johnny Osbourne,
Blossom Toes,
Gang Starr,
Easy Going,
Shuggie Otis,
Pulsallama,
Royal Trux,
The Pop Group,
Cabaret Voltaire,
Cluster,
Bill Wells,
The Golliwogs,
Fifty Foot Hose,
Duran Duran,
Sister Nancy,
Matthew Bourne,
The Slackers,
Robert Wyatt,
Ice-T,
June of 44,
Peter & Gordon,
John Holt,
48th St. Collective,
Judy Mowatt,
The Happenings,
Avey Tare's Slasher Flicks,
The Gladiators,
Joyce Sims,
A Flock of Seagulls,
Pantytec,
Depeche Mode,
Jawbox,
Art Ensemble Of Chicago,
Stetsasonic,
The Human League,
Stereo Dub,
Los Fastidios,
The Music Machine,
The Shadows of Knight,
Laurel Aitken,
Red Lorry Yellow Lorry,
The Vogues,
Bauhaus,
Rotary Connection,
The Doobie Brothers,
Ossler,
Gary Puckett & The Union Gap,
Erasure,
Beasts of Bourbon,
Cybotron,
Black Pus, Black Pus, Black Pus, Black Pus.
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.