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 Oman and from Hong Kong.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Seoul.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Ultra Naté to the jazz kids.
I played it at Trash.
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 The Litter. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Eli Mardock 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Maurizio record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
New Age Steppers,
Black Moon,
The Smoke,
Accadde A,
The Fortunes,
Marc Almond,
Boogie Down Productions,
Minor Threat,
The Sisters of Mercy,
Jesper Dahlbäck,
Donald Byrd,
Faraquet,
The Stooges,
Johnny Osbourne,
The Fuzztones,
Eve St. Jones,
Eyeless In Gaza,
Terrestrial Tones,
Hasil Adkins,
Deadbeat,
Metal Thangz,
Delta 5,
The Names,
Can,
Crispian St. Peters,
Jandek,
Zero Boys,
H. Thieme,
James Chance & The Contortions,
The Index,
Simply Red,
8 Eyed Spy,
The Jesus and Mary Chain,
Todd Terry,
The American Breed,
Warren Ellis,
Ronnie Foster,
Silicon Teens,
CMW,
The Raincoats,
Television Personalities,
Dead Boys,
Gary Puckett & The Union Gap,
Average White Band,
Nick Fraelich,
Crispy Ambulance,
Bootsy Collins,
Monks,
Pharoah Sanders,
Crooked Eye,
Saccharine Trust,
The Gladiators,
Eli Mardock,
The Durutti Column,
Dual Sessions,
DJ Sneak,
The Happenings,
Wire,
Ludus,
Spandau Ballet,
The Monks, The Monks, The Monks, The 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.