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 Rwanda 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 Cairo and Lyon.
I'm losing my edge to the art-school Mumbai 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 chamberlin 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 La Düsseldorf to the crunk 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 Japan. All the underground hits.
All Bill Near tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Leonard Cohen,
The Slits,
Liliput,
Bobby Womack,
Buzzcocks,
The Chocolate Watch Band,
Altered Images,
Gregory Isaacs,
Y Pants,
Barclay James Harvest,
DeepChord presents Echospace,
Dave Gahan,
The Blackbyrds,
Radio Birdman,
Henry Cow,
Amon Düül II,
F. McDonald,
Röyhkä ja Rättö ja Lehtisalo,
The Smiths,
Pylon,
The Seeds,
One Last Wish,
Minny Pops,
Kerrie Biddell,
Make Up,
New York Dolls,
Monks,
Excepter,
the Association,
Boredoms,
Fort Wilson Riot,
Sex Pistols,
Oneida,
Skriet,
Scientists,
The Busters,
The Happenings,
Animal Collective,
the Bar-Kays,
The Cure,
Cabaret Voltaire,
Rakim,
Inner City,
Juan Atkins,
Mantronix,
Banda Bassotti,
Archie Shepp,
Terrestrial Tones,
Gian Franco Pienzio,
Donald Byrd,
Massinfluence,
The Knickerbockers,
Second Layer,
New Age Steppers,
The Litter,
Avey Tare's Slasher Flicks,
Aswad,
Sugar Minott,
Brass Construction,
The Cramps,
Davy DMX,
Rotary Connection,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.