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 Lesotho and from Tokyo.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Manila and Mexico City.
I'm losing my edge to the art-school Madrid 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Donald Fagen 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 Gang Gang Dance to the electroclash kids.
I played it at the Roxy.
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 A Certain Ratio. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Rhythm & Sound 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 '50s cut and another box set from the '90s.
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 China Crisis record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
The Young Rascals,
The United States of America,
Henry Cow,
The Knickerbockers,
The Modern Lovers,
De La Soul & Jungle Brothers,
Super Lover Cee & Casanova Rud,
Sandy B,
Captain Beefheart & His Magic Band,
Index,
Pantaleimon,
Richard Hell and the Voidoids,
Dual Sessions,
Joensuu 1685,
The Jesus and Mary Chain,
The Fortunes,
Blancmange,
Intrusion,
The Index,
Minor Threat,
Derrick May,
Parry Music,
New Age Steppers,
Ohio Players,
Hardrive,
FM Einheit,
The Mojo Men,
Rufus Thomas,
The Techniques,
Rhythm & Sound,
Q and Not U,
Radiopuhelimet,
Kenny Larkin,
Vladislav Delay,
The Golliwogs,
Country Joe & The Fish,
Con Funk Shun,
Gregory Isaacs,
Mars,
Duran Duran,
Panda Bear,
Radio Birdman,
Soft Machine,
Bobby Womack,
Orchestral Manoeuvres in the Dark,
Crime,
Jeru the Damaja,
Masters at Work,
Sun City Girls,
Max Romeo,
Grey Daturas,
Byron Stingily,
Ash Ra Tempel,
Von Mondo,
The Red Krayola,
Fluxion,
The Beau Brummels,
Roy Ayers,
the Human League,
Fela Kuti,
Qualms,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.