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 Antigua and from Mumbai.
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 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Toronto.
I'm losing my edge to the art-school Mexico City 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Rufus Thomas to the techno 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 Echospace. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Rowland S Howard / Lydia Lunch,
Lou Reed,
Khruangbin,
KRS-One,
Soul Sonic Force,
Thompson Twins,
Simply Red,
Underground Resistance,
Pantytec,
Masters at Work,
Mars,
Howard Jones,
Groovy Waters,
The Walker Brothers,
Rahsaan Roland Kirk,
the Normal,
Bang On A Can,
Ultimate Spinach,
Negative Approach,
Funky Four + One,
Pylon,
Todd Rundgren,
Liaisons Dangereuses,
Teenage Jesus and the Jerks,
Sun City Girls,
Chris Corsano,
The Misunderstood,
Lower 48,
Wings,
OOIOO,
Peter & Gordon,
Pulsallama,
Cecil Taylor,
Supertramp,
Major Organ And The Adding Machine,
Barclay James Harvest,
Ohio Players,
Depeche Mode,
Moebius,
Sister Nancy,
Duran Duran,
The Black Dice,
Symarip,
Marmalade,
Graham Central Station,
Arab on Radar,
Bootsy's Rubber Band,
The Five Americans,
Andrew Ashong & Theo Parrish,
The Smiths,
Kauko Röyhkä ja Narttu,
The Slackers,
Judy Mowatt,
Stereo Dub,
Hot Snakes,
Inner City,
Amazonics,
Unrelated Segments,
Little Man,
Fort Wilson Riot,
Trumans Water, Trumans Water, Trumans Water, Trumans Water.
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.