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 Ghana and from Delhi.
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 1976.
I'm losing my edge.
To all the kids in Mumbai and Tehran.
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 1979 at the first Second Layer practice in a loft in South 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 Ajijia Myrayebe to the rock 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 Model 500. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every Matthew Halsall record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Black Sheep record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Depeche Mode,
Amon Düül II,
Lou Reed & John Cale,
Toni Rubio,
A Flock of Seagulls,
The Raincoats,
Jacob Miller,
Pylon,
The Offenders,
Alison Limerick,
Gang Starr,
The Music Machine,
Q and Not U,
the Fania All-Stars,
Y Pants,
The J.B.'s,
The Five Americans,
Monolake,
Ultramagnetic MC's,
Kool G Rap & DJ Polo,
The Star Department,
Ultimate Spinach,
Ronan,
Pere Ubu,
Orchestral Manoeuvres in the Dark,
Slave,
Marc Romboy vs. Booka Shade,
The Human League,
The Names,
Minny Pops,
The Smiths,
Echo & the Bunnymen,
Crispy Ambulance,
48th St. Collective,
The Buckinghams,
Cymande,
Junior Murvin,
The Sound,
Frankie Knuckles,
Terror Squad Feat. Camron,
MC5,
Basic Channel,
Deadbeat,
Bobby Womack,
Rod Modell,
Bobby Hutcherson,
Quantec,
Newcleus,
Johnny Osbourne,
The Red Krayola,
Average White Band,
Mark Hollis,
Derrick Morgan,
Mad Mike,
New Age Steppers,
Sunsets and Hearts,
U.S. Maple,
Ludus,
Unrelated Segments,
Magma,
Spoonie Gee,
Clear Light, Clear Light, Clear Light, Clear Light.
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.