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 East Timor and from Manila.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Cairo.
I'm losing my edge to the art-school Columbus 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 1984 at the first Arcadia practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 Harmonia to the grime 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 These Immortal Souls. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every Bad Manners 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
Robert Wyatt,
Drexciya,
Kaleidoscope,
Cabaret Voltaire,
Hashim,
Larry & the Blue Notes,
Terrestrial Tones,
Pagans,
Aswad,
Judy Mowatt,
Popol Vuh,
Michelle Simonal,
Andrew Ashong & Theo Parrish,
Camron Feat. Memphis Bleek And Beenie Seigel,
Donny Hathaway,
Piero Umiliani,
Q65,
Eurythmics,
John Foxx,
The Invisible,
Drive Like Jehu,
The Neon Judgement,
Young Marble Giants,
Marcia Griffiths,
Stetsasonic,
the Fania All-Stars,
Von Mondo,
Josef K,
Cal Tjader,
Index,
The Index,
Wolf Eyes,
Ash Ra Tempel,
Ice-T,
Sight & Sound,
Alphaville,
Joe Finger,
Mission of Burma,
Rapeman,
Selector Dub Narcotic,
Fugazi,
Rekid,
The J.B.'s,
Darondo,
The Blackbyrds,
Davy DMX,
Pharaoh Sanders and the Fire Engines,
Barclay James Harvest,
The Dirtbombs,
Sugar Minott,
Black Sheep,
Cybotron,
Electric Prunes,
The Flesh Eaters,
Swans,
Leonard Cohen,
The Golliwogs,
Ken Boothe,
Lalo Schifrin,
Buzzcocks,
Adolescents,
Bobbi Humphrey,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.