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 Turkey and from Madrid.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Shanghai.
I'm losing my edge to the art-school Shanghai 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 1968 at the first Can practice in a loft in Cologne.
I was working on the linndrum 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 Sound Behaviour to the electroclash kids.
I played it at the 40 Watt.
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 DeepChord presents Echospace. All the underground hits.
All Erykah Badu tracks. I heard you have a vinyl of every Harmonia record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a ABC record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Spoonie Gee,
Matthew Halsall,
Severed Heads,
Eden Ahbez,
Kas Product,
The Zeros,
Tomorrow,
Laurel Aitken,
Ash Ra Tempel,
Vladislav Delay,
Red Lorry Yellow Lorry,
Yusef Lateef,
Pagans,
Gichy Dan,
Sonic Youth,
The Names,
JFA,
Maleditus Sound,
Lakeside,
Pere Ubu,
Gang Green,
Prince Buster,
The Fortunes,
Sly & The Family Stone,
Marc Almond,
Duran Duran,
Hoover,
Cabaret Voltaire,
Strawberry Alarm Clock,
Basic Channel,
Judy Mowatt,
Rapeman,
H. Thieme,
Fugazi,
Das Ding,
Magazine,
Fifty Foot Hose,
The Pop Group,
Mars,
The Flesh Eaters,
The Count Five,
Can,
Richard Hell and the Voidoids,
Marmalade,
Circle Jerks,
Gang Starr,
Wighnomy Brothers & Robag Wruhme,
Ponytail,
Robert Hood,
Nik Kershaw,
UT,
The Litter,
Theoretical Girls,
Quadrant,
Ice-T,
Henry Cow,
Lou Reed & John Cale,
Traffic Nightmare,
Oblivians,
Slave,
Kool Moe Dee,
Inner City,
Monks, Monks, Monks, Monks.
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.