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 San Marino and from Salvador.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Lille and Stockholm.
I'm losing my edge to the art-school Madrid 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 Josef K practice in a loft in Edinburgh.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Cecil Taylor to the jazz kids.
I played it at the Crocodile.
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 Cluster. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a PIL 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?
Eric B and Rakim,
Trumans Water,
Bizarre Inc.,
Spandau Ballet,
Bill Near,
Amon Düül II,
Cameo,
Colin Newman,
FM Einheit,
Chris & Cosey,
Parry Music,
Kings Of Tomorrow,
Flash Fearless,
Siglo XX,
Siouxsie and the Banshees,
The Fuzztones,
Erykah Badu,
Radiopuhelimet,
The Misunderstood,
the Normal,
The Blackbyrds,
X-Ray Spex,
The Fall,
Qualms,
Kerri Chandler,
Stockholm Monsters,
T.S.O.L.,
Masters at Work,
Todd Terry,
The Toasters,
Ituana,
Marvin Gaye,
ABBA,
Minor Threat,
Jesper Dahlback,
The Mighty Diamonds,
Nick Cave & The Bad Seeds,
Young Marble Giants,
Susan Cadogan,
Groovy Waters,
Buzzcocks,
The Gun Club,
Tommy Roe,
Peter and Kerry,
Soft Machine,
Patti Smith,
Kool G Rap & DJ Polo,
Deutsch Amerikanische Freundschaft,
Index,
Basic Channel,
Bluetip,
Mr. Review,
Idris Muhammad,
Depeche Mode,
Rites of Spring,
Altered Images,
A Flock of Seagulls,
Blancmange,
Infiniti,
Hot Snakes,
Yaz,
Liaisons Dangereuses,
Sister Nancy,
Motorama, Motorama, Motorama, Motorama.
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.