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 Singapore and from Hong Kong.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Madrid and Cairo.
I'm losing my edge to the art-school Tehran 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 1968 at the first Can practice in a loft in Cologne.
I was working on the 808 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 Gong to the electroclash kids.
I played it at the Roxy.
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 Black Pus. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Roxy Music 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 '70s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your linndrum and bought an oboe.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
the Slits,
Heavy D & The Boyz,
The Fall,
Carl Craig,
Neu!,
Mo-Dettes,
The Men They Couldn't Hang,
Eli Mardock,
The West Coast Pop Art Experimental Band,
R.M.O.,
Niagra,
Barclay James Harvest,
Juan Atkins,
Aural Exciters,
The Skatalites,
Au Pairs,
DJ Sneak,
The Fire Engines,
Amazonics,
Desert Stars,
Lungfish,
Young Marble Giants,
Minnie Riperton,
Bauhaus,
Hardrive,
Justin Hinds & The Dominoes,
Zapp,
Motorama,
Alton Ellis,
Lizzy Mercier Descloux,
London Community Gospel Choir,
New York Dolls,
The Blackbyrds,
the Sonics,
Oneida,
Rowland S Howard / Lydia Lunch,
Pet Shop Boys,
The Residents,
Clear Light,
Derrick Morgan,
De La Soul & Jungle Brothers,
The Angels of Light,
Soft Cell,
Spoonie Gee,
Donald Byrd,
Main Source,
Eric B and Rakim,
Echospace,
The Mighty Diamonds,
The Golliwogs,
Ronan,
Barbara Tucker,
Magma,
Cymande,
Richard Hell and the Voidoids,
Marshall Jefferson,
Mad Mike,
Scott Walker + Sunn O))),
James Chance & The Contortions,
Pharaoh Sanders and the Fire Engines,
Q65,
Marc Almond,
The Beau Brummels, The Beau Brummels, The Beau Brummels, The Beau Brummels.
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.