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 Monaco and from Philadelphia.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Salvador and Johannesburg.
I'm losing my edge to the art-school Toronto 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the sitar 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 Freddie Wadling to the grime 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 Fat Boys. All the underground hits.
All Smog tracks. I heard you have a vinyl of every Deepchord record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell 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?
Marmalade,
Half Japanese,
Spandau Ballet,
Slave,
Lyres,
Brick,
Matthew Bourne,
Rekid,
The Angels of Light,
Dead Boys,
Gang Starr,
Marvin Gaye,
Gregory Isaacs,
Boz Scaggs,
Lower 48,
Be Bop Deluxe,
LL Cool J,
Traffic Nightmare,
Q and Not U,
Basic Channel,
Inner City,
Jesper Dahlbäck,
Gang Green,
Fat Boys,
Japan,
Desert Stars,
World's Most,
Judy Mowatt,
The J.B.'s,
Chris & Cosey,
Joy Division,
Ralphi Rosario,
Kurtis Blow,
The Music Machine,
Swans,
Urselle,
D'Angelo,
The Real Kids,
Gong,
Vaughan Mason & Crew,
David Bowie,
Ajijia Myrayebe,
ABC,
Kings Of Tomorrow,
Negative Approach,
Visage,
Ultimate Spinach,
Scion,
Lee Hazlewood,
Charles Mingus,
Scientists,
The Gories,
Black Moon,
Nation of Ulysses,
The Seeds,
Quando Quango,
The Smoke,
Freddie Wadling,
Thee Headcoats,
PIL, PIL, PIL, PIL.
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.