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 New Zealand and from Manchester.
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 Winnipeg and Manchester.
I'm losing my edge to the art-school Salvador 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Bauhaus to the techno 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 Slits. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Pagans 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 '80s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
The Electric Prunes,
Jeru the Damaja,
Gil Scott-Heron and Jamie xx,
The Neon Judgement,
Fugazi,
DeepChord presents Echospace,
Symarip,
The American Breed,
Warsaw,
Main Source,
Darondo,
Barrington Levy,
The Tremeloes,
Theoretical Girls,
Freddie Wadling,
Avey Tare's Slasher Flicks,
Michelle Simonal,
Das Ding,
The Cure,
Drexciya,
The Gap Band,
Kango’s Stein Massive,
Qualms,
Altered Images,
Sun Ra Arkestra,
JFA,
Steve Hackett,
The Leaves,
The Men They Couldn't Hang,
The Saints,
Dr. Dre and Snoop Doggy Dog,
Barry Ungar,
Ten City,
The Knickerbockers,
This Heat,
The Sound,
Livin' Joy,
Tropical Tobacco,
Blake Baxter,
Cal Tjader,
Howard Jones,
Black Moon,
Quando Quango,
Mandrill,
The Fuzztones,
Soft Cell,
Kaleidoscope,
Erykah Badu,
Metal Thangz,
X-102,
The Count Five,
The Monks,
Eden Ahbez,
Pete Rock & C.L. Smooth,
The Selecter,
Los Fastidios,
Brothers Johnson,
Unrelated Segments,
Tommy Roe,
Al Stewart,
The Names,
Rhythim Is Rhythim,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.