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 Botswana and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1961 to 1975.
I'm losing my edge.
To all the kids in Accra and Cairo.
I'm losing my edge to the art-school Johannesburg 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 oboe 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 Joensuu 1685 to the electroclash kids.
I played it at CBGB's.
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 Ituana. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Whodini 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 '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a New Order record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spoonie Gee,
Lee Hazlewood,
The Black Dice,
Pharaoh Sanders and the Fire Engines,
The Alarm Clocks,
Delon & Dalcan,
Swans,
The Slits,
David Axelrod,
The Grass Roots,
Scrapy,
The Cramps,
Alton Ellis,
Joe Smooth,
Kango’s Stein Massive,
Echospace,
Bauhaus,
Black Sheep,
London Community Gospel Choir,
Magma,
Eurythmics,
Lightning Bolt,
Crime,
Negative Approach,
Nirvana,
Ultramagnetic MC's,
Sad Lovers and Giants,
Lower 48,
Soulsonic Force,
The Red Krayola,
The Blues Magoos,
Electric Light Orchestra,
Sarah Menescal,
Barclay James Harvest,
Funky Four + One,
Marmalade,
The Barracudas,
Henry Cow,
Siglo XX,
Roxette,
Avey Tare's Slasher Flicks,
Blossom Toes,
Pharoah Sanders,
Janne Schatter,
Gong,
Cabaret Voltaire,
Harmonia,
Jacob Miller,
The Modern Lovers,
Marc Romboy vs. Booka Shade,
Spandau Ballet,
Agent Orange,
Marvin Gaye,
Talk Talk,
James Chance & The Contortions,
Kayak,
Ultimate Spinach,
Khruangbin,
Junior Murvin,
Letta Mbulu,
The Royal Family And The Poor,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.