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 Monaco and from Manila.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Paris.
I'm losing my edge to the art-school Paris 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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Theoretical Girls to the grime 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 Warren Ellis. All the underground hits.
All Pharaoh Sanders and the Fire Engines tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
Tropical Tobacco,
The Star Department,
The Buckinghams,
Max Romeo,
Sällskapet,
DJ Style,
The Fugs,
Bluetip,
The Beau Brummels,
Cybotron,
The Toasters,
Gian Franco Pienzio,
Gichy Dan,
The Doobie Brothers,
Cabaret Voltaire,
Tubeway Army,
De La Soul & Jungle Brothers,
Robert Görl,
Mandrill,
Dennis Brown,
Andrew Ashong & Theo Parrish,
Inner City,
Talk Talk,
Curtis Mayfield,
The New Christs,
Albert Ayler,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lindisfarne,
Minutemen,
Minnie Riperton,
The Blues Magoos,
Todd Terry,
Interpol,
Scratch Acid,
Lungfish,
Metal Thangz,
Alton Ellis,
The United States of America,
The Zeros,
Mark Hollis,
Sonic Youth,
The Five Americans,
Nik Kershaw,
The Monochrome Set,
Bauhaus,
Country Joe & The Fish,
Morten Harket,
Absolute Body Control,
Rekid,
The Royal Family And The Poor,
Throbbing Gristle,
Duran Duran,
Circle Jerks,
Aloha Tigers,
Yusef Lateef,
Unwound,
the Association,
Minny Pops,
Matthew Bourne,
The Victims,
KRS-One,
The Detroit Cobras,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.