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 Mongolia and from Calgary.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Copenhagen.
I'm losing my edge to the art-school Hong Kong 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 808 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 Model 500 to the crunk kids.
I played it at Cafe Wha.
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 Move. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
Barry Ungar,
David McCallum,
Gil Scott-Heron & Brian Jackson,
Visage,
The Walker Brothers,
Crooked Eye,
The Invisible,
Kauko Röyhkä ja Narttu,
Barrington Levy,
Bizarre Inc.,
Mad Mike,
Roger Hodgson,
The Star Department,
Oblivians,
The Smoke,
Andrew Hill,
Sällskapet,
John Cale,
Nick Cave & The Bad Seeds,
Ludus,
Siouxsie and the Banshees,
Basic Channel,
Mr. Review,
Malaria!,
Masters at Work,
Big Daddy Kane,
Babytalk,
Marine Girls,
Audionom,
Flash Fearless,
Qualms,
Vladislav Delay,
Larry & the Blue Notes,
Prince Buster,
The Pop Group,
Jeff Mills,
The Gladiators,
The Raincoats,
New Order,
Gang Starr,
The Pretty Things,
Kerrie Biddell,
Juan Atkins,
Minutemen,
AZ,
Hoover,
The Fall,
Reuben Wilson,
The Mummies,
Trumans Water,
Sister Nancy,
Soul II Soul,
Johnny Osbourne,
Radiohead,
Skaos,
Robert Hood,
The Tremeloes,
Scientists,
Blossom Toes,
Magazine,
Avey Tare & Kría Brekkan,
Piero Umiliani, Piero Umiliani, Piero Umiliani, Piero Umiliani.
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.