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 Brazil and from Paris.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Milan and Copenhagen.
I'm losing my edge to the art-school Lille 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 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 James Chance & The Contortions to the crunk kids.
I played it at the Troubador.
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 Mary Jane Girls. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every The Pop Group record on German import.
I heard that you have a white label of every seminal crunk 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 a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Yellowson record.
I hear that you and your band have sold your 808 and bought a theremin.
I hear that you and your band have sold your theremin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
Orchestral Manoeuvres in the Dark,
Gang Starr,
Bluetip,
The Move,
The Selecter,
Funkadelic,
Gong,
Symarip,
The Happenings,
Grey Daturas,
Second Layer,
The American Breed,
Liliput,
Barrington Levy,
Bobby Womack,
The Beau Brummels,
John Foxx,
Ituana,
Grandmaster Flash and the Furious Five,
Delon & Dalcan,
The Cramps,
John Lydon,
Gil Scott Heron,
Archie Shepp,
Art Ensemble Of Chicago,
Mantronix,
Gichy Dan,
David Axelrod,
Kango’s Stein Massive,
Richard Hell and the Voidoids,
Massinfluence,
Morten Harket,
Chris & Cosey,
Black Sheep,
X-102,
OOIOO,
Quadrant,
The Dirtbombs,
The Neon Judgement,
Joe Finger,
Little Man,
MDC,
Danielle Patucci,
The Peanut Butter Conspiracy,
KRS-One,
Roxy Music,
Aloha Tigers,
Aural Exciters,
Erasure,
Television Personalities,
Wighnomy Brothers & Robag Wruhme,
The Offenders,
Dark Day,
DeepChord presents Echospace,
Gregory Isaacs,
B.T. Express,
The Barracudas,
John Coltrane,
Lee Hazlewood,
Porter Ricks,
The Names,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.