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 Botswana and from Cairo.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1961 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Stockholm.
I'm losing my edge to the art-school Bremen 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 clarinet 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 Massinfluence to the disco kids.
I played it at the Hacienda.
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 Alton Ellis. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Camberwell Now 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 '70s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Super Lover Cee & Casanova Rud record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Vogues,
John Coltrane,
Oneida,
Siouxsie and the Banshees,
Roxette,
Easy Going,
Max Romeo,
Newcleus,
Eric B and Rakim,
Panda Bear,
Sound Behaviour,
Sugar Minott,
MC5,
Average White Band,
Cabaret Voltaire,
Beasts of Bourbon,
Ohio Players,
Delon & Dalcan,
Altered Images,
Moebius,
Hot Snakes,
Dorothy Ashby,
Sam Rivers,
The Mummies,
James White and The Blacks,
Big Daddy Kane,
The Monks,
Depeche Mode,
Lizzy Mercier Descloux,
DJ Sneak,
Dawn Penn,
Sandy B,
Mad Mike,
The Gladiators,
Ossler,
Silicon Teens,
Flamin' Groovies,
Ultramagnetic MC's,
Lalo Schifrin,
Rotary Connection,
The Walker Brothers,
Boogie Down Productions,
The Knickerbockers,
Freddie Wadling,
The Offenders,
Peter & Gordon,
Bush Tetras,
the Fania All-Stars,
H. Thieme,
The Sound,
The Moleskins,
Gary Puckett & The Union Gap,
Funkadelic,
Radio Birdman,
F. McDonald,
The Durutti Column,
Gang Starr,
Unwound,
Interpol,
Ludus, Ludus, Ludus, Ludus.
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.