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 Bremen.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1970.
I'm losing my edge.
To all the kids in Edmonton and Houston.
I'm losing my edge to the art-school Bologna 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 Negative Approach to the electroclash 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 Eric B and Rakim. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every Mad Mike record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Misunderstood record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Loose Ends,
Howard Jones,
Gang Starr,
DJ Sneak,
Kas Product,
Erasure,
La Düsseldorf,
Technova,
Theoretical Girls,
Motorama,
Man Parrish,
Yusef Lateef,
Skriet,
Scientists,
Eddi Front,
Bobbi Humphrey,
Dual Sessions,
Drexciya,
Nik Kershaw,
Porter Ricks,
Kenny Larkin,
A Certain Ratio,
James White and The Blacks,
Japan,
Tres Demented,
Bob Dylan,
Monks,
Q65,
Soft Cell,
Bill Near,
the Bar-Kays,
The Divine Comedy,
Harmonia,
Angels of Light & Akron/Family,
Robert Görl,
This Heat,
The J.B.'s,
Amon Düül II,
Q and Not U,
Bush Tetras,
Deutsch Amerikanische Freundschaft,
Colin Newman,
Strawberry Alarm Clock,
Faraquet,
Model 500,
OOIOO,
Prince Buster,
Cymande,
The Toasters,
Urselle,
Derrick May,
Interpol,
a-ha,
The Electric Prunes,
Whodini,
Lou Reed & Metallica,
The Jesus and Mary Chain,
Cybotron,
Jeff Lynne,
Delon & Dalcan,
Television Personalities,
K-Klass, K-Klass, K-Klass, K-Klass.
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.