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 Montenegro and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Beijing and Lagos.
I'm losing my edge to the art-school Manila 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the organ sounds with much patience.
I was there when Robert Palmer 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 Strawberry Alarm Clock to the punk kids.
I played it at the Hacienda.
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 Grandmaster Flash. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every the Normal record on German import.
I heard that you have a white label of every seminal crunk 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 rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Brass Construction,
Kings Of Tomorrow,
The Barracudas,
The Wake,
Inner City,
Blake Baxter,
The Fugs,
Zapp,
Gastr Del Sol,
Yusef Lateef,
Scientists,
The Tremeloes,
David McCallum,
Q and Not U,
Donny Hathaway,
Fear,
Circle Jerks,
Lindisfarne,
Gian Franco Pienzio,
Radio Birdman,
Bobbi Humphrey,
Robert Görl,
Public Image Ltd.,
Henry Cow,
This Heat,
Cybotron,
Kauko Röyhkä ja Narttu,
Barbara Tucker,
Mission of Burma,
Aswad,
Justin Hinds & The Dominoes,
Eric Dolphy,
James Chance & The Contortions,
Echo & the Bunnymen,
Bang on a Can All-Stars,
Fela Kuti,
Letta Mbulu,
Bill Wells,
Glambeats Corp.,
the Swans,
Clear Light,
Newcleus,
Wings,
June of 44,
The Gap Band,
The Saints,
Crime,
Avey Tare,
Radiopuhelimet,
The Evens,
Kango’s Stein Massive,
Barry Ungar,
the Association,
Agitation Free,
Los Fastidios,
Chrome,
T. Rex,
Ossler,
Dave Gahan,
Terrestrial Tones,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.