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 Uzbekistan and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1978.
I'm losing my edge.
To all the kids in Lille and Mumbai.
I'm losing my edge to the art-school Calgary 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 1976 at the first Chic practice in a loft in New York.
I was working on the harpsichord 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 JFA to the rap 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 Junior Murvin. All the underground hits.
All The Evens tracks. I heard you have a vinyl of every The Seeds 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Real Kids,
Cabaret Voltaire,
Supertramp,
Severed Heads,
Spandau Ballet,
Curtis Mayfield,
Underground Resistance,
The Wake,
The Red Krayola,
Dave Gahan,
Radio Birdman,
Silicon Teens,
Quando Quango,
Sunsets and Hearts,
Leonard Cohen,
The Flesh Eaters,
Inner City,
Index,
F. McDonald,
Maurizio,
L. Decosne,
The Fugs,
Interpol,
Trumans Water,
Charles Mingus,
The Knickerbockers,
The Gap Band,
Röyhkä ja Rättö ja Lehtisalo,
Juan Atkins,
KRS-One,
Rekid,
Scion,
The Sisters of Mercy,
Mars,
Richard Hell and the Voidoids,
Art Ensemble Of Chicago,
Michelle Simonal,
The Velvet Underground,
the Normal,
World's Most,
Mantronix,
The Index,
Tubeway Army,
Unrelated Segments,
The Saints,
UT,
Max Romeo,
The Toasters,
Matthew Bourne,
The Grass Roots,
China Crisis,
Faust,
The Birthday Party,
Quantec,
Red Lorry Yellow Lorry,
Kurtis Blow,
Hasil Adkins,
Arab on Radar,
Nik Kershaw,
10cc,
Y Pants,
Metal Thangz,
Sugar Minott, Sugar Minott, Sugar Minott, Sugar Minott.
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.