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 Maldives and from Bologna.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Halifax and Portland.
I'm losing my edge to the art-school New York 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 AZ to the grime kids.
I played it at Trash.
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 Second Layer. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Lakeside record on German import.
I heard that you have a white label of every seminal dance 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 an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sun City Girls record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Pet Shop Boys,
Babytalk,
The Associates,
Ludus,
Outsiders,
Roy Ayers Ubiquity,
The Dirtbombs,
Al Stewart,
Ultramagnetic MC's,
Michelle Simonal,
Funkadelic,
Q and Not U,
Blossom Toes,
The Five Americans,
Sam Rivers,
Eli Mardock,
The Chocolate Watch Band,
The Walker Brothers,
Youth Brigade,
The Happenings,
Throbbing Gristle,
Marvin Gaye,
DJ Sneak,
cv313,
June Days,
John Lydon,
Gerry Rafferty,
Selector Dub Narcotic,
Bob Dylan,
Faraquet,
Stereo Dub,
The Monks,
Underground Resistance,
DeepChord presents Echospace,
Camron Feat. Memphis Bleek And Beenie Seigel,
Orchestral Manoeuvres in the Dark,
Laurel Aitken,
the Soft Cell,
Minor Threat,
The Moleskins,
Ponytail,
Deadbeat,
Spandau Ballet,
Freddie Wadling,
Sad Lovers and Giants,
The Smoke,
The Gun Club,
Scott Walker + Sunn O))),
Radio Birdman,
Accadde A,
Mandrill,
Echo & the Bunnymen,
The Angels of Light,
Deepchord,
F. McDonald,
Morten Harket,
Harmonia,
Peter Gordon & Love of Life Orchestra,
Barrington Levy,
Supertramp,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
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.