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 Nepal and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Stockholm.
I'm losing my edge to the art-school Manchester 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar sounds with much patience.
I was there when David Bowie 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 Dave Gahan to the grime kids.
I played it at the 40 Watt.
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 Marvin Gaye. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Susan Cadogan 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
ABC,
Pulsallama,
Talk Talk,
Alison Limerick,
The Move,
Mantronix,
the Germs,
Theoretical Girls,
Major Organ And The Adding Machine,
Half Japanese,
Bob Dylan,
Young Marble Giants,
Kurtis Blow,
Magazine,
Hoover,
Moebius,
Echospace,
Judy Mowatt,
Jerry's Kids,
Ohio Players,
La Düsseldorf,
Bobby Sherman,
John Coltrane,
Todd Terry,
The Cowsills,
Popol Vuh,
Robert Wyatt,
Man Eating Sloth,
In Retrospect,
Camberwell Now,
Notorious BIG live in Amsterdam,
Thompson Twins,
Fela Kuti,
Carl Craig,
Second Layer,
Barry Ungar,
Letta Mbulu,
Idris Muhammad,
Amon Düül,
Bronski Beat,
Eli Mardock,
Essential Logic,
The Saints,
Big Daddy Kane,
The Last Poets,
The Associates,
Lebanon Hanover,
The Moleskins,
Soul II Soul,
Gang Green,
The Misunderstood,
Bobbi Humphrey,
Underground Resistance,
Newcleus,
Derrick May,
Circle Jerks,
Kings Of Tomorrow,
Skriet,
Röyhkä ja Rättö ja Lehtisalo,
Roy Ayers,
The Real Kids,
Isaac Hayes,
Monks, Monks, Monks, Monks.
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.