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 Czech Republic and from Bologna.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Columbus.
I'm losing my edge to the art-school Calgary 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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 The Detroit Cobras to the dance kids.
I played it at the Crocodile.
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 Von Mondo. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Scientists 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 '80s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Massinfluence,
AZ,
Loose Ends,
The Alarm Clocks,
Black Sheep,
The Divine Comedy,
Bad Manners,
Rod Modell,
Ultimate Spinach,
Wire,
Soft Machine,
Interpol,
Man Eating Sloth,
Rakim,
Scrapy,
The Walker Brothers,
a-ha,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ice-T,
Pylon,
Big Daddy Kane,
Fatback Band,
Lee Hazlewood,
Bobby Womack,
Boogie Down Productions,
Todd Terry,
The Durutti Column,
Gil Scott Heron,
Cybotron,
Andrew Ashong & Theo Parrish,
Nico,
June of 44,
The Count Five,
Byron Stingily,
Malaria!,
The Motions,
Eddi Front,
Tomorrow,
Ludus,
Sticky Fingaz feat. Raekwon,
Ralphi Rosario,
Basic Channel,
Model 500,
Quantec,
Underground Resistance,
Motorama,
The Searchers,
Little Man,
Kauko Röyhkä ja Narttu,
Don Cherry,
MC5,
Patti Smith,
Notorious Big And Bone Thugs,
Jesper Dahlbäck,
Television,
Stetsasonic,
Pharaoh Sanders and the Fire Engines,
Lou Reed & Metallica,
Tom Boy,
The Slackers,
Rosa Yemen,
Magazine,
The Pop Group,
Ituana, Ituana, Ituana, Ituana.
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.