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 Ukraine and from Accra.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Johannesburg.
I'm losing my edge to the art-school Sao Paulo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Pussy Galore to the electroclash 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 The Zeros. All the underground hits.
All Todd Rundgren tracks. I heard you have a vinyl of every Metal Thangz record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spoonie Gee,
Sonic Youth,
Glambeats Corp.,
Warren Ellis,
Pharaoh Sanders and the Fire Engines,
The Sound,
Dave Gahan,
Pulsallama,
James Chance & The Contortions,
Freddie Wadling,
Big Daddy Kane,
Con Funk Shun,
Sly & The Family Stone,
PIL,
Patti Smith,
The Invisible,
Curtis Mayfield,
Robert Görl,
The Dirtbombs,
Barclay James Harvest,
Dead Boys,
Byron Stingily,
The Five Americans,
Peter & Gordon,
Skriet,
the Bar-Kays,
Grandmaster Flash and the Furious Five,
Gil Scott-Heron & Brian Jackson,
Section 25,
The Gun Club,
Kevin Saunderson,
The Pop Group,
Ossler,
Deepchord,
DNA,
Camron Feat. Jay Z And Juelz,
David McCallum,
Magazine,
Alison Limerick,
a-ha,
Lou Reed & Metallica,
Crash Course in Science,
Radio Birdman,
Tubeway Army,
The Young Rascals,
Brothers Johnson,
Albert Ayler,
Vaughan Mason & Crew,
Pierre Henry,
Chris & Cosey,
Alton Ellis,
The Slackers,
Echospace,
Crime,
Angels of Light & Akron/Family,
The Doobie Brothers,
Fugazi,
Crispy Ambulance,
Zero Boys,
Minnie Riperton,
Slick Rick,
Prince Buster, Prince Buster, Prince Buster, Prince Buster.
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.