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 Antigua and from Winnipeg.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1968 to 1975.
I'm losing my edge.
To all the kids in Bremen and Jakarta.
I'm losing my edge to the art-school Sao Paulo 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 1968 at the first Can practice in a loft in Cologne.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 EPMD to the electroclash 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 Skatalites. All the underground hits.
All Television tracks. I heard you have a vinyl of every Rosa Yemen record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
Nico,
Siouxsie and the Banshees,
Davy DMX,
Connie Case,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bootsy's Rubber Band,
Animal Collective,
The Real Kids,
Sad Lovers and Giants,
Grandmaster Flash,
the Slits,
The Beau Brummels,
Traffic Nightmare,
Patti Smith,
The Associates,
Masters at Work,
Pagans,
Nation of Ulysses,
Rowland S Howard / Lydia Lunch,
Sly & The Family Stone,
The Golliwogs,
K-Klass,
Rhythm & Sound,
Marcia Griffiths,
Sound Behaviour,
Banda Bassotti,
Donald Byrd,
Rapeman,
Sällskapet,
Jacques Brel,
Don Cherry,
Peter Gordon & Love of Life Orchestra,
Lou Reed & Metallica,
Urselle,
Eyeless In Gaza,
Judy Mowatt,
Throbbing Gristle,
Slave,
New Age Steppers,
Agitation Free,
Ossler,
Lalann,
Bluetip,
Selector Dub Narcotic,
Justin Hinds & The Dominoes,
Crash Course in Science,
Wasted Youth,
Heaven 17,
Mars,
Avey Tare & Kría Brekkan,
Easy Going,
Pantytec,
Gary Puckett & The Union Gap,
Minor Threat,
The Kinks,
The Techniques,
Scientists,
Sun City Girls,
Lee Hazlewood,
Pet Shop Boys, Pet Shop Boys, Pet Shop Boys, Pet Shop Boys.
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.