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 Japan and from Manchester.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Calgary.
I'm losing my edge to the art-school Taipei 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 Neu! practice in a loft in Düsseldorf.
I was working on the linndrum sounds with much patience.
I was there when David Bowie 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 Masters at Work to the funk 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 The Dirtbombs. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Fifty Foot Hose 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 '70s cut and another box set from the '70s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
Pagans,
Gil Scott Heron,
Letta Mbulu,
The Remains,
Brick,
Graham Central Station,
Sun Ra Arkestra,
AZ,
Sight & Sound,
The Selecter,
Robert Hood,
Yusef Lateef,
Avey Tare & Kría Brekkan,
Eddi Front,
Pole,
Notorious Big And Bone Thugs,
The Divine Comedy,
Mars,
B.T. Express,
Arthur Verocai,
Depeche Mode,
John Cale,
Man Parrish,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sarah Menescal,
KRS-One,
Jerry Gold Smith,
Gerry Rafferty,
Make Up,
The Fall,
Supertramp,
Laurel Aitken,
Country Joe & The Fish,
Bang on a Can All-Stars,
Gabor Szabo,
DeepChord presents Echospace,
Faust,
Bronski Beat,
Ornette Coleman,
The Sisters of Mercy,
Procol Harum,
The Gun Club,
The Evens,
The Vogues,
Ronnie Foster,
T.S.O.L.,
Mantronix,
Tim Buckley,
Joe Finger,
Al Stewart,
Altered Images,
Moss Icon,
Carl Craig,
Faraquet,
Porter Ricks,
The Happenings,
Public Enemy,
Crispy Ambulance,
Young Marble Giants,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.