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 Nicaragua and from Glasgow.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Johannesburg.
I'm losing my edge to the art-school Johannesburg 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 Motorama to the funk kids.
I played it at the Astoria.
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 Stereo Dub. All the underground hits.
All Rowland S Howard / Lydia Lunch tracks. I heard you have a vinyl of every Godley & Creme 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 '70s cut and another box set from the '90s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Piero Umiliani,
Johnny Osbourne,
Röyhkä ja Rättö ja Lehtisalo,
Marshall Jefferson,
Joy Division,
the Slits,
John Lydon,
Negative Approach,
Pharoah Sanders,
Mars,
Kenny Larkin,
The Count Five,
Drive Like Jehu,
Soul Sonic Force,
The Sisters of Mercy,
L. Decosne,
Donny Hathaway,
The Motions,
Jimmy McGriff,
China Crisis,
Cabaret Voltaire,
Spandau Ballet,
Con Funk Shun,
Lindisfarne,
The Blues Magoos,
Lizzy Mercier Descloux,
The Remains,
Jeff Lynne,
Ludus,
The Velvet Underground,
The Black Dice,
Deadbeat,
The Sound,
The Leaves,
Deakin,
Vladislav Delay,
Public Enemy,
Whodini,
Von Mondo,
Kerri Chandler,
Mission of Burma,
Hoover,
The Last Poets,
The Monochrome Set,
Visage,
The Standells,
Heavy D & The Boyz,
Lakeside,
Roy Ayers,
The Searchers,
Erasure,
Nick Cave & The Bad Seeds,
The Invisible,
Peter Gordon & Love of Life Orchestra,
Bill Wells,
The Cramps,
Tim Buckley,
Iggy Pop,
The Litter,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.