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 Iran and from Lille.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Cairo.
I'm losing my edge to the art-school Houston 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 spring reverb sounds with much patience.
I was there when David Bowie 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 The Cowsills to the funk kids.
I played it at the Spitz.
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 Hasil Adkins. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every Man Eating Sloth record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ultimate Spinach record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
De La Soul & Jungle Brothers,
Duran Duran,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Richard Hell and the Voidoids,
Lonnie Liston Smith,
Moss Icon,
Harmonia,
Public Image Ltd.,
The Selecter,
The Cowsills,
Fear,
Warren Ellis,
Monks,
Susan Cadogan,
Los Fastidios,
James Chance & The Contortions,
Avey Tare & Kría Brekkan,
Black Pus,
Spoonie Gee,
The Gories,
Rufus Thomas,
Spandau Ballet,
Model 500,
Ultravox,
The Dave Clark Five,
Eric B and Rakim,
Kool Moe Dee,
June of 44,
Masters at Work,
Matthew Bourne,
Oppenheimer Analysis,
Pantaleimon,
Outsiders,
The Men They Couldn't Hang,
Pierre Henry,
The Electric Prunes,
The Velvet Underground,
Urselle,
Lakeside,
New Age Steppers,
La Düsseldorf,
Soulsonic Force,
Magma,
Mad Mike,
Newcleus,
Suburban Knight,
The Gladiators,
Negative Approach,
Peter & Gordon,
Man Parrish,
Avey Tare's Slasher Flicks,
Rhythim Is Rhythim,
The Peanut Butter Conspiracy,
Barclay James Harvest,
Rekid,
Nico,
H. Thieme,
Bizarre Inc.,
Scott Walker + Sunn O))),
Donny Hathaway,
Shoche,
Mantronix, Mantronix, Mantronix, Mantronix.
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.