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 Taiwan and from Portland.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Delhi.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the synthesizer 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 Notorious BIG live in Amsterdam to the techno 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 De La Soul & Jungle Brothers. All the underground hits.
All Monks tracks. I heard you have a vinyl of every The Fortunes 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Gil Scott-Heron & Brian Jackson,
the Bar-Kays,
Fat Boys,
Curtis Mayfield,
Jeff Mills,
Bill Wells,
Albert Ayler,
Simply Red,
Panda Bear,
Organ,
The Litter,
Public Image Ltd.,
Sixth Finger,
Liliput,
Blake Baxter,
Clear Light,
Supertramp,
Laurel Aitken,
Iggy Pop,
Scott Walker + Sunn O))),
Urselle,
Kas Product,
Camberwell Now,
Japan,
The Victims,
Pantytec,
Connie Case,
Suburban Knight,
Joyce Sims,
Faust,
Robert Görl,
Little Man,
The Sisters of Mercy,
Echospace,
Roy Ayers,
The Doors,
Crispian St. Peters,
Sandy B,
Juan Atkins,
Wally Richardson,
Franke,
The Selecter,
Niagra,
Tropical Tobacco,
Deakin,
The Electric Prunes,
Neil Young & Crazy Horse,
Saccharine Trust,
Eric B and Rakim,
Steve Hackett,
Sonny Sharrock,
Half Japanese,
Rekid,
Röyhkä ja Rättö ja Lehtisalo,
Radiohead,
Colin Newman,
Tom Boy,
Stiv Bators,
Ash Ra Tempel,
Cybotron,
The Blackbyrds,
Eric Copeland,
Young Marble Giants,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.