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 Paris.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Toronto and Lyon.
I'm losing my edge to the art-school Lagos 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 Robert Palmer 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 Glenn Branca to the dance 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 Beasts of Bourbon. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every Nico 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 '80s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
Leonard Cohen,
the Soft Cell,
Can,
Chris & Cosey,
Camberwell Now,
Donny Hathaway,
Vaughan Mason & Crew,
The Monochrome Set,
Bill Near,
Gong,
Albert Ayler,
Lindisfarne,
Gastr Del Sol,
Kool Moe Dee,
Howard Jones,
Public Enemy,
Tommy Roe,
The Jesus and Mary Chain,
The Wake,
Idris Muhammad,
The Durutti Column,
Nas,
Mission of Burma,
Mad Mike,
Silicon Teens,
The Searchers,
It's A Beautiful Day,
Curtis Mayfield,
Bobby Byrd,
Cymande,
Parry Music,
New Age Steppers,
The Mighty Diamonds,
The Mummies,
The Misunderstood,
E-Dancer,
Main Source,
Gil Scott-Heron and Jamie xx,
Theoretical Girls,
The Remains,
The Associates,
Hasil Adkins,
Grandmaster Flash and the Furious Five,
Anthony Braxton,
Junior Murvin,
Don Cherry,
The Offenders,
Echospace,
The Tremeloes,
The Standells,
Justin Hinds & The Dominoes,
The Stooges,
Tears for Fears,
Funky Four + One,
Organ,
In Retrospect,
Maurizio,
Animal Collective,
Q and Not U,
Bill Wells,
Todd Rundgren,
Henry Cow,
Duran Duran, Duran Duran, Duran Duran, Duran Duran.
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.