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 Marshall Islands and from Seoul.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Salvador and Bremen.
I'm losing my edge to the art-school Portland 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Cabaret Voltaire to the techno 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 Cecil Taylor. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Duran Duran record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
Avey Tare,
Dave Gahan,
Rhythm & Sound,
Carl Craig,
The Pretty Things,
Nick Fraelich,
Thompson Twins,
Notorious Big And Bone Thugs,
The Jesus and Mary Chain,
Kerri Chandler,
Pierre Henry,
Quadrant,
Davy DMX,
Infiniti,
Freddie Wadling,
Gang Starr,
The Slackers,
Loose Ends,
Lalo Schifrin,
Rapeman,
Ken Boothe,
K-Klass,
Robert Wyatt,
Yellowson,
Monks,
The Angels of Light,
The Barracudas,
Roxette,
The Offenders,
Hasil Adkins,
Joyce Sims,
Ten City,
Amazonics,
Dark Day,
Unrelated Segments,
La Düsseldorf,
CMW,
Los Fastidios,
Eyeless In Gaza,
Yazoo,
Ralphi Rosario,
World's Most,
Lebanon Hanover,
Godley & Creme,
Grandmaster Flash,
Josef K,
Oblivians,
Black Flag,
Parry Music,
The Gladiators,
Bronski Beat,
Ossler,
Goldenarms,
Harpers Bizarre,
the Soft Cell,
Dual Sessions,
Arthur Verocai,
The Buckinghams,
The Young Rascals,
Art Ensemble Of Chicago,
Pulsallama,
The Saints, The Saints, The Saints, The Saints.
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.