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 Tunisia and from Woodstock.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Halifax and Tehran.
I'm losing my edge to the art-school London 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 1968 at the first Can practice in a loft in Cologne.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Average White Band to the techno 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 The Searchers. All the underground hits.
All Wasted Youth tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Mark Hollis record.
I hear that you and your band have sold your clarinet and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
New Age Steppers,
The Star Department,
Lebanon Hanover,
Massinfluence,
Monks,
Chris & Cosey,
Agitation Free,
Flipper,
the Slits,
This Heat,
Cabaret Voltaire,
Camberwell Now,
Aaron Thompson,
Wasted Youth,
Ultravox,
Marine Girls,
Gil Scott Heron,
Negative Approach,
The Martian,
The Tremeloes,
Thompson Twins,
Sparks,
Nation of Ulysses,
Dennis Brown,
Michelle Simonal,
Bill Near,
Fad Gadget,
Mo-Dettes,
UT,
Louis and Bebe Barron,
Slick Rick,
Vainqueur,
Leonard Cohen,
Nick Cave & The Bad Seeds,
Roy Ayers Ubiquity,
The Cure,
Tom Boy,
Notorious Big And Bone Thugs,
David Bowie,
Lonnie Liston Smith,
The Angels of Light,
Inner City,
Soft Machine,
Yaz,
Joey Negro,
Sam Rivers,
Alison Limerick,
Ronnie Foster,
The Mummies,
Dawn Penn,
Piero Umiliani,
Cluster,
Gastr Del Sol,
Peter Gordon & Love of Life Orchestra,
Yellowson,
The Vogues,
Popol Vuh,
Alphaville,
Oppenheimer Analysis,
Siglo XX,
Susan Cadogan,
Bronski Beat,
kango's stein massive, kango's stein massive, kango's stein massive, kango's stein massive.
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.