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 Egypt and from Delhi.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Halifax and Accra.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 The American Breed to the techno 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 Outsiders. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Trumans Water record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
Subhumans,
Lalo Schifrin,
The Litter,
Das Ding,
Godley & Creme,
Model 500,
Sparks,
Depeche Mode,
Matthew Halsall,
The Fall,
Chrome,
B.T. Express,
The Red Krayola,
Neil Young,
the Germs,
Marmalade,
Sandy B,
Echo & the Bunnymen,
Peter & Gordon,
The Techniques,
Max Romeo,
Arcadia,
Wighnomy Brothers & Robag Wruhme,
Aloha Tigers,
Rosa Yemen,
Yazoo,
Cymande,
Agitation Free,
Todd Terry,
Television,
Eric Copeland,
Byron Stingily,
Junior Murvin,
Spandau Ballet,
Gregory Isaacs,
The Count Five,
Lindisfarne,
Soft Machine,
Erasure,
Deakin,
Suicide,
Morten Harket,
Dorothy Ashby,
Black Bananas,
Rhythm & Sound,
Jimmy McGriff,
Charles Mingus,
Mark Hollis,
Stiv Bators,
Marc Almond,
The Motions,
Henry Cow,
Skriet,
The Last Poets,
Mandrill,
Intrusion,
Leonard Cohen,
Joe Finger,
The Kinks,
New Order, New Order, New Order, New Order.
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.