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 Jordan and from Edmonton.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Mumbai.
I'm losing my edge to the art-school London 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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb 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 Bobby Byrd to the techno 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 Blake Baxter. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Glambeats Corp. record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
The Jesus and Mary Chain,
Siouxsie and the Banshees,
Scrapy,
Peter Gordon & Love of Life Orchestra,
Panda Bear,
Crispian St. Peters,
Parry Music,
Selector Dub Narcotic,
Peter and Kerry,
The Neon Judgement,
Liaisons Dangereuses,
The Count Five,
Hoover,
Dave Gahan,
Shoche,
Black Sheep,
The Smoke,
Gabor Szabo,
Animal Collective,
Alison Limerick,
Smog,
EPMD,
Laurel Aitken,
Cheater Slicks,
Babytalk,
Gang Starr,
Rapeman,
Skriet,
Pole,
World's Most,
Soft Cell,
Audionom,
The Chocolate Watch Band,
Major Organ And The Adding Machine,
Alice Coltrane,
Subhumans,
Symarip,
AZ,
Traffic Nightmare,
Section 25,
The Men They Couldn't Hang,
Magma,
The Selecter,
Brothers Johnson,
Joyce Sims,
Erykah Badu,
the Slits,
48th St. Collective,
Barclay James Harvest,
Todd Rundgren,
Radio Birdman,
Letta Mbulu,
Jacob Miller,
Jacques Brel,
Cecil Taylor,
Lou Reed & John Cale,
Desert Stars,
Kango’s Stein Massive,
Larry & the Blue Notes,
Guru Guru,
Don Cherry,
Sandy B, Sandy B, Sandy B, Sandy B.
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.