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 Cape Verde and from Toronto.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Delhi and Columbus.
I'm losing my edge to the art-school Hong Kong 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 Sly & The Family Stone to the electroclash kids.
I played it at the Crocodile.
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 Deepchord. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Bad Manners record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Foxx,
KRS-One,
Kango’s Stein Massive,
Electric Light Orchestra,
Surgeon,
Spandau Ballet,
The Knickerbockers,
Teenage Jesus and the Jerks,
Wire,
Lou Reed,
David McCallum,
Boredoms,
Lou Reed & John Cale,
Dark Day,
Red Lorry Yellow Lorry,
Country Teasers,
Popol Vuh,
Skarface,
Don Cherry,
Public Enemy,
Lindisfarne,
Strawberry Alarm Clock,
Lebanon Hanover,
Rakim,
Dave Gahan,
DeepChord presents Echospace,
Mr. Review,
Heavy D & The Boyz,
Los Fastidios,
Roger Hodgson,
Faust,
Bobby Hutcherson,
Soul Sonic Force,
Deepchord,
Depeche Mode,
Ponytail,
Be Bop Deluxe,
Kevin Saunderson,
Underground Resistance,
Glenn Branca,
The Doobie Brothers,
Supertramp,
Moby Grape,
Chris Corsano,
Average White Band,
Fugazi,
China Crisis,
Juan Atkins,
Scratch Acid,
Blancmange,
MC5,
Joy Division,
AZ,
Lightning Bolt,
Mission of Burma,
The Grass Roots,
Monolake,
Derrick May,
The Toasters,
the Germs,
Eurythmics,
Fear, Fear, Fear, Fear.
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.