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 Georgia and from Stockholm.
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 1978.
I'm losing my edge.
To all the kids in Beijing and Bremen.
I'm losing my edge to the art-school Delhi 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Hot Snakes to the electroclash kids.
I played it at the Roxy.
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 Lee Hazlewood. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Crispy Ambulance record on German import.
I heard that you have a white label of every seminal grime 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 clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Little Man,
Lizzy Mercier Descloux,
Piero Umiliani,
Babytalk,
Nation of Ulysses,
Blancmange,
Second Layer,
Sight & Sound,
Sun Ra,
Swell Maps,
Cabaret Voltaire,
Jesper Dahlback,
Gang Green,
Lindisfarne,
Visage,
Dave Gahan,
Flamin' Groovies,
Khruangbin,
Heavy D & The Boyz,
the Association,
Be Bop Deluxe,
Fifty Foot Hose,
Rites of Spring,
Slick Rick,
The Sisters of Mercy,
The Slackers,
Rapeman,
Gerry Rafferty,
The Beau Brummels,
Oneida,
Hot Snakes,
Depeche Mode,
Joensuu 1685,
Deakin,
cv313,
Bill Wells,
Pole,
Blossom Toes,
Half Japanese,
Joy Division,
Gil Scott-Heron and Jamie xx,
Mars,
Wire,
Royal Trux,
Pharoah Sanders,
Deadbeat,
Ken Boothe,
Minnie Riperton,
Dual Sessions,
The Golliwogs,
Reuben Wilson,
John Lydon,
Kerri Chandler,
The Cure,
OOIOO,
Kings Of Tomorrow,
Bobby Womack,
Terror Squad Feat. Camron,
Oblivians,
Electric Prunes,
Pagans,
John Coltrane,
Louis and Bebe Barron,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.